Of potential interest:
Inaugural CFP: The Rising Dragon, a journal of Pacific Rim culture and media studies
Monday, June 8, 2015
https://networks.h-net.org/node/13784/discussions/71886/inaugural-cfp-rising-dragon-journal-pacific-rim-culture-and-media
The Rising Dragon
Call for Papers
We are pleased to announce the first CFP for a new publication, The Rising Dragon, a journal of Pacific Rim culture and media studies. We also accept video submissions. The theme for our first edition is “Pacific Rim as Frontier and Heartland.” During his presidential nomination acceptance speech in 1960, President John F. Kennedy first posited the idea of the Pacific Rim as a definite community that was both frontier and heartland, combining the two central ideas of the American mythos. For him, it was a contiguous, ever more integrated community of interest, experience, and humanness. It revolves as a single unit in that sense, transcending the merely Trans-Pacific by being Circum-Pacific, including all the cultures on the edges and within it. This is what informs our idea of the Pacific Rim and thus provides the impetus for our first theme, “Pacific Rim as Frontier and Heartland.”
Topics for consideration may include, but are not limited to, the following:
Anthropology and Sociology
Art and Music, Traditional to Today
Cultural Fusion, Adaptation, and Experimentation
Fandom Groups and Popular Culture
History
Human Interaction with the Natural World
Immigration, Emigration, Acculturation, and Returning Home
Imperialism, Colonialism, Independence, and Indigeneity
Interactive and New Media
Literature (Including Graphic Literature) and Language
Politics, Economics, and International Relations
Race Relations
Religious Practices, Festivals, and Rites
Sexual and Gender Normativities
Steampunk
Television, Cinema, and Video Games
Theatre and Performance
Youth Culture and Expression
All fields are to be broadly construed and we will consider submissions outside these areas on their individual merits
We also accept book, film, and game review proposals
Please contact us if you have a proposal for a future themed edition
The Rising Dragon is principally an English-language journal and all initial submissions, including abstracts, are to be in that language. Authors may use American or British English as the author prefers, provided they are consistent. Author-provided translations of all materials in other Pacific Rim languages (e.g. Cebuano, Chinese, French, Hawai’ian, Japanese, Javanese, Korean, Laotian, Malay, Maori, Pama-Nyungan, Russian, Spanish, Tagalog, Thai, Vietnamese) will be published alongside the official English versions. Submissions may also be multimedia, including standard print formats and accompanying video or audio recordings. Please see our CFV for details on how to submit a recording.
Questions, inquiries, and abstracts of 250-500 words and CV/résumé should be submitted to RisingDragonJournal@gmail.com in Word format by 1 December 2015 for inclusion in the first edition, projected for a 15 March 2016 publication date. We also accept applications to be outside readers for blind peer review purposes. Academics at all stages of their careers, industry professionals, government and religious officials, and other interested parties are all eligible to submit abstracts to The Rising Dragon for consideration. Papers submitted to The Rising Dragon must not have been published or posted elsewhere before submission to the journal. Please see our Style Sheet before submitting an abstract or completed manuscript.
Our journal is an open access publication, as are our video presentations, and will never charge fees to authors or readers. The Rising Dragon is a publication of the International College of Liberal Arts at Yamanashi Gakuin University.
Editorial Board:
Editor-in-Chief: Dr. Darren Jon Ashmore, Professor of Anthropology and Head of Japan Studies, Yamanashi Gakuin University, Kofu, Yamanashi Prefecture, Japan
Assistant Editor: J. Holder Bennett, Associate Professor of History, Collin College, McKinney, Texas, USA
Associate Editors:
Dr. Eunju Bährisch, Postdoctoral Researcher and Project Coordinator, Institute of Korean Studies, Freie Universität Berlin, Berlin, Germany
Dr. Elizabeth Birmingham, Associate Dean of Arts, Humanities, and Social Sciences and Professor of English, North Dakota State University, Fargo, North Dakota, USA
Dr. Darryl E. Brock, Adjunct Assistant Professor of History, University of Bridgeport, Bridgeport, Connecticut, USA
Dr. Rick Hudson, Research Fellow, Manchester Metropolitan University, Manchester, England, UK
Dr. Frank Jacob, Assistant Professor of World History, Queensborough Community College, City University of New York, Bayside, New York, USA
Dr. Bruno Starrs, Senior Lecturer in Cinematology, Institut Teknologi Brunei, Bandar Seri Begawan, Negara Brunei Darussalam
Dr. Christopher B. Patterson, Assistant Professor of English, New York Institute of Technology, Nanjing, Nanjing, Jiangsu, People’s Republic of China
Daniel Fandino, Member, H-Net Executive Council, East Lansing, Michigan, USA
Peter Schuelke, Visiting Fellow, Polinsky Language Science Lab, Harvard University, Cambridge, Massachusetts, USA
Video Curator: William R. Clark, Jr.
ISSN: 2379-2930
Friday, June 19, 2015
CFP Mad Magazine collection (9/15/2015)
CFP: Book on Mad Magazine
Monday, June 8, 2015
https://networks.h-net.org/node/13784/discussions/71888/cfp-book-mad-magazine
Call for papers for a book on Mad magazine. We are looking for scholarly examinations of the magazine, its humor, its artists, its cultural and political impact, and its influence. The book is under consideration by a major university press, and will expand what was covered in a recent special issue of Studies in American Humor. Here is the link to the contents of that issue: http://www.jstor.org/stable/10.5325/studamerhumor.issue-30
Possible topics include the following: feminist approaches; racial issues; humor types/genres/media; movie and TV parodies; recurring features, such as “Spy vs. Spy”; examinations of specific artists/writers; precursors; legacy/influence; and others.
Please send queries or proposals by September 15, 2015 to Judith Yaross Lee, the editor of Studies in American Humor: leej@ohio.edu
Judith Yaross Lee
Ohio University
Email: leej@ohio.edu
Monday, June 8, 2015
https://networks.h-net.org/node/13784/discussions/71888/cfp-book-mad-magazine
Call for papers for a book on Mad magazine. We are looking for scholarly examinations of the magazine, its humor, its artists, its cultural and political impact, and its influence. The book is under consideration by a major university press, and will expand what was covered in a recent special issue of Studies in American Humor. Here is the link to the contents of that issue: http://www.jstor.org/stable/10.5325/studamerhumor.issue-30
Possible topics include the following: feminist approaches; racial issues; humor types/genres/media; movie and TV parodies; recurring features, such as “Spy vs. Spy”; examinations of specific artists/writers; precursors; legacy/influence; and others.
Please send queries or proposals by September 15, 2015 to Judith Yaross Lee, the editor of Studies in American Humor: leej@ohio.edu
Judith Yaross Lee
Ohio University
Email: leej@ohio.edu
CFP Comics of Julie Doucet and Gabrielle Bell (collection) (8/15/2015)
Wow! It has been a very long time since my last post. I hope to be more responsive this summer.
CFP: The comics of Julie Doucet and Gabrielle Bell (an edited collection) Aug. 15-- proposals due
Sunday, June 14, 2015
https://networks.h-net.org/node/13784/discussions/72436/cfp-comics-julie-doucet-and-gabrielle-bell-edited-collection-aug-15
Call for Papers
The comics of Julie Doucet and Gabrielle Bell (an edited collection)
This proposed volume for the University Press of Mississippi's book series, Critical Approaches to Comics Artists, will examine the works of two influential cartoonists: Julie Doucet and Gabrielle Bell. These artists have helped shape the world of contemporary comics, particularly through their experiments in autobiography, travelogue, fantasy, and diary.
We are interested in assembling a tightly woven collection of compelling essays from a variety of disciplinary and interdisciplinary perspectives in order to suggest starting off points for sustained future critical analysis. Each essay may examine the works of one or the other cartoonist, or it may put historical and aesthetic discussions of their works in conversation with one another. Some of the critical approaches we hope to encounter include: comics and visual studies, art history, print and material culture studies, women's and gender studies, and auto/biography studies.
General topics potential contributors may choose to address in discussing the works of one, the other, or both cartoonists include:
In the form of a Word file or PDF, please send a 500-1000 word abstract, CV, and contact information to Tahneer Oksman and Seamus O'Malley at bellanddoucet@gmail.com by August 15.
CFP: The comics of Julie Doucet and Gabrielle Bell (an edited collection) Aug. 15-- proposals due
Sunday, June 14, 2015
https://networks.h-net.org/node/13784/discussions/72436/cfp-comics-julie-doucet-and-gabrielle-bell-edited-collection-aug-15
Call for Papers
The comics of Julie Doucet and Gabrielle Bell (an edited collection)
This proposed volume for the University Press of Mississippi's book series, Critical Approaches to Comics Artists, will examine the works of two influential cartoonists: Julie Doucet and Gabrielle Bell. These artists have helped shape the world of contemporary comics, particularly through their experiments in autobiography, travelogue, fantasy, and diary.
We are interested in assembling a tightly woven collection of compelling essays from a variety of disciplinary and interdisciplinary perspectives in order to suggest starting off points for sustained future critical analysis. Each essay may examine the works of one or the other cartoonist, or it may put historical and aesthetic discussions of their works in conversation with one another. Some of the critical approaches we hope to encounter include: comics and visual studies, art history, print and material culture studies, women's and gender studies, and auto/biography studies.
General topics potential contributors may choose to address in discussing the works of one, the other, or both cartoonists include:
- diaries, travelogues, and dream journals
- representations of gender and sexuality
- adaptations (film, etc.) and/or translations
- auto/biography and/or gender and genre
- urban landscapes and interiors
- comics genealogies and networks
- technology and comics
- place and origin: Quebec/England/San Francisco/New York
- graphic medicine (epilepsy, depression)
- self-publishing, zines, and mini-comics
- career trajectories
- anthologies/anthologizing; comics publishers/publishing (L'Association, Drawn & Quarterly, website, self, etc.)
- art books and/or non-narrative works
- non-comics works and methods (collage, poetry, animation, silkscreening, etc.)
In the form of a Word file or PDF, please send a 500-1000 word abstract, CV, and contact information to Tahneer Oksman and Seamus O'Malley at bellanddoucet@gmail.com by August 15.
Wednesday, January 28, 2015
CFP Comics Arts Conference at Comic-Con International (3/1/15; San Diego 7/9-12/15)
An exciting opportunity. My thanks to the NEPCA blog for the information.
CFP: Comics Arts Conference at Comic-Con International
100 to 200 word abstracts for papers, presentations, panels, and poster sessions taking a critical or historical perspective on comics (juxtaposed images in sequence) are being accepted for a meeting of scholars and professionals at the San Diego Comic-Con International, 7/9-7/12, 2015. We seek proposals from a broad range of disciplinary and theoretical perspectives and welcome the participation of academic and independent scholars. We also encourage the involvement of professionals from all areas of the comics industry, including creators, editors, publishers, retailers, distributors, and journalists. The CAC is designed to bring together comics scholars, professionals, critics, and historians to engage in discussion of the comics. Proposals due 3/1 to http://www.surveymonkey.com/s/BZD3DRD or comicsartsconference@gmail.com.
CFP: Comics Arts Conference at Comic-Con International
100 to 200 word abstracts for papers, presentations, panels, and poster sessions taking a critical or historical perspective on comics (juxtaposed images in sequence) are being accepted for a meeting of scholars and professionals at the San Diego Comic-Con International, 7/9-7/12, 2015. We seek proposals from a broad range of disciplinary and theoretical perspectives and welcome the participation of academic and independent scholars. We also encourage the involvement of professionals from all areas of the comics industry, including creators, editors, publishers, retailers, distributors, and journalists. The CAC is designed to bring together comics scholars, professionals, critics, and historians to engage in discussion of the comics. Proposals due 3/1 to http://www.surveymonkey.com/s/BZD3DRD or comicsartsconference@gmail.com.
Friday, January 2, 2015
IJoCA for Fall/Winter 2014 First Notice
Monday, December 29, 2014
CFP Comics & Graphic Narrative Circle at ALA 2015 (1/20/15; ALA Boston 5/21-24/15)
I can't get the formatting of this to work in Blogger. See link to PDF.
Comics & Graphic Narrative Circle at ALA 2015
Proposals by 1/20/15
http://alaconf.org/wp-content/uploads/2014/12/ALA-2015-CFP-1.pdf
Comics & Graphic Narrative Circle at ALA 2015
Proposals by 1/20/15
http://alaconf.org/wp-content/uploads/2014/12/ALA-2015-CFP-1.pdf
CFP Visual Culture and Ethnic American Periodicals (12/27/14; ALA Boston 5/21-24/15)
Two quick CFPs for today. More to follow as time allows
CFP: Visual Culture and Ethnic American Periodicals
http://alaconf.org/wp-content/uploads/2014/12/CFP_RSAP.pdf
The Research Society for American Periodicals invites submissions on “Visual Culture
and Ethnic American Periodicals” for the American Literature Association conference, May
21-24, 2015 in Boston, MA.
This panel considers how African American, Asian and Pacific American, Latino/a, and Native American periodicals engage visual culture, including by publishing comics, cartoons, illustrations, and photographs. Papers that focus on the history or production of periodical art or illustrated periodicals are especially welcome. Possible topics may include, but are not limited to, the relationship between text and image; collaborations between editors or writers and visual artists; staff and contributing artists; comic strips, cartoon series, or cover art; periodical layout and visual design; and art criticism in ethnic American periodicals.
Papers may focus on any US historical period. Please submit a 300-word abstract and a 1- to 2-page c.v. by December 27, 2014 to Andreá Williams (Ohio State University) at andrea.williams.osu@gmail.com. Please use the subject line “RSAP/ALA proposal.”
CFP: Visual Culture and Ethnic American Periodicals
http://alaconf.org/wp-content/uploads/2014/12/CFP_RSAP.pdf
The Research Society for American Periodicals invites submissions on “Visual Culture
and Ethnic American Periodicals” for the American Literature Association conference, May
21-24, 2015 in Boston, MA.
This panel considers how African American, Asian and Pacific American, Latino/a, and Native American periodicals engage visual culture, including by publishing comics, cartoons, illustrations, and photographs. Papers that focus on the history or production of periodical art or illustrated periodicals are especially welcome. Possible topics may include, but are not limited to, the relationship between text and image; collaborations between editors or writers and visual artists; staff and contributing artists; comic strips, cartoon series, or cover art; periodical layout and visual design; and art criticism in ethnic American periodicals.
Papers may focus on any US historical period. Please submit a 300-word abstract and a 1- to 2-page c.v. by December 27, 2014 to Andreá Williams (Ohio State University) at andrea.williams.osu@gmail.com. Please use the subject line “RSAP/ALA proposal.”
Sunday, November 23, 2014
NBC's Constantine
One more post for the night:
Also premiering this season is Constantine on NBC. I've only caught one episode so far, but the series looks interesting. As expected, it has a lot of similarities to the CW's Supernatural in terms of its monsters and magic, and I hope it is given the chance to develop on its own and shed some light on the darker recesses of the DCU.
Also premiering this season is Constantine on NBC. I've only caught one episode so far, but the series looks interesting. As expected, it has a lot of similarities to the CW's Supernatural in terms of its monsters and magic, and I hope it is given the chance to develop on its own and shed some light on the darker recesses of the DCU.
CW's The Flash
The new series The Flash premiered earlier this season on CW as a spin-off to Arrow, now in its third year. The freshman series recounts the origin and early adventures of the Scarlet Speedster. There is some influence of the New 52 in terms of the setting and aspects of Barry Allen's back story, but it is an engaging story nevertheless. Allen is a really likable character (and a smart dresser), and it is interesting to see how the rogues are being introduced into the DC Live-Action Television Universe (what a mouthful). Some are freaks of the week (as in Smallville, which borrowed the idea from The X-Files) created by the accident/experiment that turned Barry into the Flash, but others seem to develop because of his presence in Central City. Still other characters are named after established DC metahumans (Vibe, Killer Frost, and Firestorm, according to Wikipedia), and one wonders when they too will emerge. There are also the ongoing mysteries of the yellow blur (presumably the Reverse Flash) and his identity (Eddie Thawne--the last name is right--or Harrison Wells--he is from the future and seems willing to do anything to keep Barry on track--or someone we've yet to see) and what exactly the future holds for our hero. Finally while the casting of an African American actor as Johnny Storm in the new Fantastic Four film seems to make little narrative sense (and to have attracted a lot of fan ire), the race-blind casting of Joe and Iris West appears to have received little comment. Both characters blend right into the mythos rather than just being a nod to diversifying the cast (as also seems to have been the case with the new Aqualad introduced for the Young Justice series and then the comics), and their presence offers the added possibility of a black Kid Flash (he is Iris's nephew) in the future and, perhaps, an interracial marriage for Barry.
Sunday, October 19, 2014
CFP Marvel Feature Films Collections (11/15/14)
Here's a call I'm really excited about:
CFP Marvel Feature Films
Location: Texas, United States
Call for Papers Date: 2014-11-15 (in 27 days)
Date Submitted: 2014-09-17
Announcement ID: 216439
https://www.h-net.org/announce/show.cgi?ID=216439
Marvel Feature Films edited by Robert Moses Peaslee, Matthew McEniry, and Robert G. Weiner
The recent release of Guardians of the Galaxy marks the penultimate film in the so-called second “phase” of the Marvel Cinematic Universe, a group of big-budget tentpole films that include Marvel’s The Avengers, Captain America: The Winter Solider, Thor: Dark World, Iron Man 1-3, and the Incredible Hulk. Meanwhile, other studios like Sony and Fox have had success with films based on Marvel properties such as the X-Men and Spider-Man.
Feature films and full-length television movies based on Marvel characters go back to the 1970s, however, and very little scholarship has been produced on these films. The editors of this volume seek essays that discuss Marvel feature length films, and while we will consider essays that deal with the Marvel Cinematic Universe and more recent films, we are particularly interested in those films that have not received a lot of scholarly attention (including television and animated features). We are also interested in work dealing with films produced when certain characters were Marvel properties (like Transformers, G. I. Joe, and Conan). Please note we are not interested in television series, per se, but rather the full-length films produced from them. We are also interested in the business aspect of Marvel Films and Marvel Animation. We will also consider essays on those unauthorized foreign films based on Marvel characters like Turkish Captain America/Spider-Man, etc.
We are particularly interested in considering essays dealing with:
Transfomers (1986), G.I. Joe (1987), Howard the Duck (1986), Captain America (1979, 1990), Inhumanoids: the Movie (1986), Trial of the Incredible Hulk (1989), Man-Thing (2005), Ghost Rider (2007, 2011), Spider-Man: The Dragon’s Challenge (1979), Dr. Strange (1979), Generation X (1996), Power Pack (1991), Punisher (1989), Nick Fury: Agent of Shield (1998), Blade 1-3 (1998, 2002, 2004), Elektra (2005), Thor: Tales of Asgard (2011), Iron Man: Rise of Technovore (2013), Planet Hulk (2010), Fantastic Four (1994) and Next Avengers (2008).
A brief but by no means conclusive list of interesting questions to consider:
Please submit a 200-500 word abstract by November 15th Rob.weiner@ttu.edu and Matthew.mceniry@ttu.edu
Upon acceptance final essays will be due on Feb 15th
Matthew McEniry
Texas Tech University Library
18th and Boston
Box 40002
Lubbock Texas 79409
Email: matthew.mceniry@ttu.edu
CFP Marvel Feature Films
Location: Texas, United States
Call for Papers Date: 2014-11-15 (in 27 days)
Date Submitted: 2014-09-17
Announcement ID: 216439
https://www.h-net.org/announce/show.cgi?ID=216439
Marvel Feature Films edited by Robert Moses Peaslee, Matthew McEniry, and Robert G. Weiner
The recent release of Guardians of the Galaxy marks the penultimate film in the so-called second “phase” of the Marvel Cinematic Universe, a group of big-budget tentpole films that include Marvel’s The Avengers, Captain America: The Winter Solider, Thor: Dark World, Iron Man 1-3, and the Incredible Hulk. Meanwhile, other studios like Sony and Fox have had success with films based on Marvel properties such as the X-Men and Spider-Man.
Feature films and full-length television movies based on Marvel characters go back to the 1970s, however, and very little scholarship has been produced on these films. The editors of this volume seek essays that discuss Marvel feature length films, and while we will consider essays that deal with the Marvel Cinematic Universe and more recent films, we are particularly interested in those films that have not received a lot of scholarly attention (including television and animated features). We are also interested in work dealing with films produced when certain characters were Marvel properties (like Transformers, G. I. Joe, and Conan). Please note we are not interested in television series, per se, but rather the full-length films produced from them. We are also interested in the business aspect of Marvel Films and Marvel Animation. We will also consider essays on those unauthorized foreign films based on Marvel characters like Turkish Captain America/Spider-Man, etc.
We are particularly interested in considering essays dealing with:
Transfomers (1986), G.I. Joe (1987), Howard the Duck (1986), Captain America (1979, 1990), Inhumanoids: the Movie (1986), Trial of the Incredible Hulk (1989), Man-Thing (2005), Ghost Rider (2007, 2011), Spider-Man: The Dragon’s Challenge (1979), Dr. Strange (1979), Generation X (1996), Power Pack (1991), Punisher (1989), Nick Fury: Agent of Shield (1998), Blade 1-3 (1998, 2002, 2004), Elektra (2005), Thor: Tales of Asgard (2011), Iron Man: Rise of Technovore (2013), Planet Hulk (2010), Fantastic Four (1994) and Next Avengers (2008).
A brief but by no means conclusive list of interesting questions to consider:
- How has Disney’s acquisition of Marvel changed the blockbuster landscape?
- Why were certain television or direct to video films like Captain America (1990), Captain America: Death Too Soon or Spider-Man: The Dragon’s Challenge released theatrically overseas?
- Why did Howard the Duck fail to live up to its hype, and what are we to make of his recent reappearance in the CMU?
- How can we think more deeply about the use of legend and myth in these films?
- What was the production history of Transformers (1986) and how did the film eventually factor into the continuity of the Marvel comics series?
- Cyberpunk influences, particularly in films like Iron Man: Rise of Technovore
- Faustian influences in the Ghost Rider films and the use of the original Ghost Rider, Carter Slade, in the first film.
- How Daredevil and Thor were used in the Hulk television films?
- While Blade was moderately successfully in 1998, why did it take the 2000’s X-Men to kick start the current wave of Marvel and superhero films?
- Generation X as an example of X-film?
- Has Marvel Animation been successful compared to DC in producing high quality animated films?
- Planet Hulk as Greek/Roman myth?
- Traditional vampire lore in the Blade series.
- Spider-Man as a villain in the Turkish 3 Dev Adam, also featuring Captain America.
- The Bollywood 'Tu Mera Superman featuring a mash-up of Superman and Spider-Woman?
- Production history of producer Roger Corman’s ill-fated attempt at the $2 million Fantastic Four film.
Please submit a 200-500 word abstract by November 15th Rob.weiner@ttu.edu and Matthew.mceniry@ttu.edu
Upon acceptance final essays will be due on Feb 15th
Matthew McEniry
Texas Tech University Library
18th and Boston
Box 40002
Lubbock Texas 79409
Email: matthew.mceniry@ttu.edu
Thursday, September 11, 2014
CFP: The Canadian Alternative: Canadian Cartoonists, Comics, and Graphic Novels (essays by 4/30/15)
One quick post for the night:
CFP: The Canadian Alternative: Canadian Cartoonists, Comics, and Graphic Novels
Tuesday, September 9, 2014
https://networks.h-net.org/node/13784/discussions/40812/cfp-canadian-alternative-canadian-cartoonists-comics-and-graphic
We seek previously unpublished essays addressing Canadian cartoonists/comics. Our primary interest is in "alternative" cartoonists and cartooning, narrowly defined; that is, figures associated with the underground, independent, and/or ground-level comics movements. Figures of key interest might include but are not limited to
However, and as the inclusion of Lemire above indicates, we are also interested in papers dealing with the Canadian "alternative" more broadly-defined, whether represented by the visions of specific creators who have worked in mainstream comics (Byrne, Dan and Gene Day, Lemire, McFarland, etc.) or by Canadian alternatives to mainstream US comics publishing (e.g. the Canadian "whites" of World War Two), the various attempts to create a Canadian market/national hero (perhaps best represented by Richard Comely and Comely Comics's Captain Canuck), and other distinctly Canadian takes on the graphic medium (e.g. Martin Vaughan-James's The Cages, or BP Nicholls's use of comics/cartooning). Substantial essays (5,000-8,000 words) focusing on specific creators, comparing/contrasting the work of a few creators, or addressing Canadian movements in comics are welcome. Submit completed papers by April 30 2015 to Dominick Grace (dgrace2@uwo.ca) and/or Eric Hoffman (diamondjoecity@gmail.com). Dominick Grace and Eric Hoffman are also the editors of Dave Sim: Conversations, Chester Brown: Conversations, and Seth: Conversations for the University Press of Mississippi. Inquiries/proposals are also welcome.
Though a publisher has yet to be determined, the University Press of Mississippi has expressed interest in publishing this collection.
Dominick Grace
Brescia University College
1285 Western Rd
London ON
N6G 1H2
CANADA
Email: dgrace2@uwo.ca
CFP: The Canadian Alternative: Canadian Cartoonists, Comics, and Graphic Novels
Tuesday, September 9, 2014
https://networks.h-net.org/node/13784/discussions/40812/cfp-canadian-alternative-canadian-cartoonists-comics-and-graphic
We seek previously unpublished essays addressing Canadian cartoonists/comics. Our primary interest is in "alternative" cartoonists and cartooning, narrowly defined; that is, figures associated with the underground, independent, and/or ground-level comics movements. Figures of key interest might include but are not limited to
- Marc Bell
- David Boswell
- Chester Brown
- Scott Chantler
- David Collier
- Julie Doucet
- Rand Holmes
- Jeff Lemire (especially his independent work)
- Bernie Mireault
- Bryan Lee O'Malley
- Dave Sim
- Seth
However, and as the inclusion of Lemire above indicates, we are also interested in papers dealing with the Canadian "alternative" more broadly-defined, whether represented by the visions of specific creators who have worked in mainstream comics (Byrne, Dan and Gene Day, Lemire, McFarland, etc.) or by Canadian alternatives to mainstream US comics publishing (e.g. the Canadian "whites" of World War Two), the various attempts to create a Canadian market/national hero (perhaps best represented by Richard Comely and Comely Comics's Captain Canuck), and other distinctly Canadian takes on the graphic medium (e.g. Martin Vaughan-James's The Cages, or BP Nicholls's use of comics/cartooning). Substantial essays (5,000-8,000 words) focusing on specific creators, comparing/contrasting the work of a few creators, or addressing Canadian movements in comics are welcome. Submit completed papers by April 30 2015 to Dominick Grace (dgrace2@uwo.ca) and/or Eric Hoffman (diamondjoecity@gmail.com). Dominick Grace and Eric Hoffman are also the editors of Dave Sim: Conversations, Chester Brown: Conversations, and Seth: Conversations for the University Press of Mississippi. Inquiries/proposals are also welcome.
Though a publisher has yet to be determined, the University Press of Mississippi has expressed interest in publishing this collection.
Dominick Grace
Brescia University College
1285 Western Rd
London ON
N6G 1H2
CANADA
Email: dgrace2@uwo.ca
Monday, August 25, 2014
Golden Age Superboy!
As part of my ongoing quest for Superboys, I was pleased to discover the original Superboy in DC's recent collection The Adventures of Superboy (2010). With story by Jerry Siegel and art by Joe Shuster, the character first appears in More Fun Comics No. 101 (Jan./Feb. 1945) in the opening splash to the story:
We are then presented with 2 1/2 pages of action set on Krypton, where Jor-El (as usual) fails to convince his fellow scientists of the danger threatening their world. Finally, as expected, Jor-El and wife Lara have no other choice but to send their infant son, Kal-El, to Earth. The boy's superhuman abilities are noticeable at an very early age, as Siegel and Shuster introduce the prototype for the Silver Age Superbaby:
Young Kal-El is eventually adopted by the Kents, and he continues to develop his powers in scenes reminiscent of his Silver Age youth. Showing first his increased super strength:
Later adventures suggest that Clark is about 10 years old at this point (whereas the Silver Age Superboy is a teen), and most of these early stories show him aiding other children both at home and (sometimes) abroad. He is an interesting character, and, fully embracing both tights and flights, clearly delights in the novelty of his dual identity as first illustrated in the following issue, More Fun Comics 102 (Mar./Apr. 1945):
Check out The Adventures of Superboy for more:
We are then presented with 2 1/2 pages of action set on Krypton, where Jor-El (as usual) fails to convince his fellow scientists of the danger threatening their world. Finally, as expected, Jor-El and wife Lara have no other choice but to send their infant son, Kal-El, to Earth. The boy's superhuman abilities are noticeable at an very early age, as Siegel and Shuster introduce the prototype for the Silver Age Superbaby:
Young Kal-El is eventually adopted by the Kents, and he continues to develop his powers in scenes reminiscent of his Silver Age youth. Showing first his increased super strength:
Then his developing ability to fly (seen more fully next issue):
And, finally, his super speed:
Also of interest, the story offers Kal-El's first musings on his place in the world and need for a secret identity:
Check out The Adventures of Superboy for more:
Thursday, August 21, 2014
Batman: Assault on Arkham on Home Video (and Justice League: Throne of Atlantis preview)
Warner Home Video recently released Batman: Assault on Arkham to home video. The film draws upon the Batman: Arkham electronic game franchise (taking place after Batman: Arkham Origins) and highlights an adventure of the Suicide Squad. The trailer from DC Entertainment follows:
Details of the extras for the Blu-Ray edition have been conveniently listed on the Blu-ray.com site (http://www.blu-ray.com/movies/Batman-Assault-on-Arkham-Blu-ray/102001/#Review) and include:
Audio Commentary: DC Comics Animation creative director Mike Carlin, Assault on Arkham writer Heath Corson and executive producer James Tucker cover every major aspect of the film's development, adaptation, voice casting, animation and music. Director Jay Oliva is nowhere to be found, though.
The Joker's Queen: Harley Quinn (HD, 14 minutes): A look at the animated origin of Harley Quinn, her move to the printed page and the evolution of her character through various media, with Carlin, Quinn co-creator Paul Dini, "Suicide Squad" and Supernatural writer Adam Glass, and Entertainment Weekly writer Geoff Boucher.
Arkham Analyzed: The Secrets Behind the Asylum (HD, 27 minutes): "All things are possible here and I am what madness made me." The not so hallowed institution of Arkham Asylum, its inspiration, and its place in Batman comic books, television shows, videogames and films, with another lineup of interviews with key industry professionals.
From the DC Comics Vault (SD, 91 minutes): "Task Force X" from Justice League Unlimited, "Infiltrator" from Young Justice, "Emperor Joker" from The Brave and the Bold and "Two of a Kind" from The Batman.[The extra cartoons are common to all releases of the DC Universe Animated Original Movies, though one wonders (again) of their value, since real fans will already have these in their collections.]
Justice League: Throne of Atlantis Sneak Peek (HD, 9 minutes): An extended behind-the-scenes promo detailing the production of the next DCU Animated Original Movie, Justice League: Throne of Atlantis, the sequel to Justice League: War.
The clip has also surfaced online separate from the Batman film:
Details of the extras for the Blu-Ray edition have been conveniently listed on the Blu-ray.com site (http://www.blu-ray.com/movies/Batman-Assault-on-Arkham-Blu-ray/102001/#Review) and include:
Audio Commentary: DC Comics Animation creative director Mike Carlin, Assault on Arkham writer Heath Corson and executive producer James Tucker cover every major aspect of the film's development, adaptation, voice casting, animation and music. Director Jay Oliva is nowhere to be found, though.
The Joker's Queen: Harley Quinn (HD, 14 minutes): A look at the animated origin of Harley Quinn, her move to the printed page and the evolution of her character through various media, with Carlin, Quinn co-creator Paul Dini, "Suicide Squad" and Supernatural writer Adam Glass, and Entertainment Weekly writer Geoff Boucher.
Arkham Analyzed: The Secrets Behind the Asylum (HD, 27 minutes): "All things are possible here and I am what madness made me." The not so hallowed institution of Arkham Asylum, its inspiration, and its place in Batman comic books, television shows, videogames and films, with another lineup of interviews with key industry professionals.
From the DC Comics Vault (SD, 91 minutes): "Task Force X" from Justice League Unlimited, "Infiltrator" from Young Justice, "Emperor Joker" from The Brave and the Bold and "Two of a Kind" from The Batman.[The extra cartoons are common to all releases of the DC Universe Animated Original Movies, though one wonders (again) of their value, since real fans will already have these in their collections.]
Justice League: Throne of Atlantis Sneak Peek (HD, 9 minutes): An extended behind-the-scenes promo detailing the production of the next DCU Animated Original Movie, Justice League: Throne of Atlantis, the sequel to Justice League: War.
The clip has also surfaced online separate from the Batman film:
X-Men: Days of Future Past Home Video News
The recent film X-Men: Days of Future Past comes to home video this October (10/14/14) with Blu-Ray/Digital HD combo packs (with optional 3D disc), a DVD only version, and Digital Video only versions.
Full details on the Blu-Ray extras has been posted on the Blu-Ray.com site (http://www.blu-ray.com/news/?id=14558) and includes the following:
Special Features:
Disc 1: Theatrical Feature (Blu-ray 3D)
Disc 2:Theatrical Feature (Blu-ray 2D)
Deleted Scenes [with Optional Audio Commentary by Bryan Singer]
Kitchen Sequence
Gag Reel
Double Take: Xavier & Magneto
X-Men: Reunited
Classification: M
Sentinels: For a Secure Future
Gallery: Trask Industries
Theatrical Trailers
Second Screen App
Digital HD
There are also rumors of an extended edition to be release in 2015.
Full details on the Blu-Ray extras has been posted on the Blu-Ray.com site (http://www.blu-ray.com/news/?id=14558) and includes the following:
Special Features:
Disc 1: Theatrical Feature (Blu-ray 3D)
Disc 2:Theatrical Feature (Blu-ray 2D)
Deleted Scenes [with Optional Audio Commentary by Bryan Singer]
Kitchen Sequence
Gag Reel
Double Take: Xavier & Magneto
X-Men: Reunited
Classification: M
Sentinels: For a Secure Future
Gallery: Trask Industries
Theatrical Trailers
Second Screen App
Digital HD
There are also rumors of an extended edition to be release in 2015.
Amazing Spider-Man 2 Now on Home Video
Marvel's The Amazing Spider-Man 2 is now available on home video on Blu-Ray/DVD/Ultraviolet, DVD/Ultraviolet, and Digital Video. A full review of the Blu-Ray set can be found on Blu-Ray.com at http://www.blu-ray.com/movies/The-Amazing-Spider-Man-2-Blu-ray/63965/#Review.
Here are the complete details about Blu-Ray and DVD extras as posted on EW.com in June (http://insidemovies.ew.com/2014/06/16/amazing-spider-man-2-blu-ray/):
Blu-ray & DVD Bonus Features Include:
4 All-New Deleted Scenes with Commentary by Marc Webb
Filmmaker Commentary
Alicia Keys “It’s On Again” music video
Exclusively Available on Blu-ray:
9 Additional Deleted Scenes with Commentary by Marc Webb, including “Peter Meets His Father”
“The Wages of Heroism: Making The Amazing Spider-Man 2,” featuring revealing, in-depth segments including:
“Lessons Learned: Development and Direction” — Filmmakers and cast discuss their approach to the sequel and their efforts to make it the best Spider-Man yet.
“Heart of the City: Shooting in New York” — A behind-the-scenes look at the film’s unprecedented access to New York City during production.
“Triple Threat: Attack of the Villains” — An inside look at the development of Spider-Man’s fearsome foes, Electro, the Green Goblin and Rhino.
“A More Dangerous World: Transforming Electro and the Green Goblin” — From make-up to costuming, see what it took to transform Jamie Foxx and Dane DeHaan into their fearsome alter-egos.
“A Bolt From the Blue: Visual Effects” — Sony Pictures Imageworks artists and animators show how they created the gravity defying, web-slinging and pumped-up action in the new film.
“Spidey Gets His Groove Back: Music and Editing” — Learn how the film’s soundtrack and score came together in this behind-the-scenes look at jam sessions with Composer Hans Zimmer and the team of master musicians he assembled, including Pharrell Williams, Johnny Marr, Michael Einziger and more.
Exclusive to the DVD:
New Public Service Announcement for the Worldwide Orphans Foundation (WWO), featuring Andrew Garfield & WWO CEO Dr. Jane Aronson
Here are the complete details about Blu-Ray and DVD extras as posted on EW.com in June (http://insidemovies.ew.com/2014/06/16/amazing-spider-man-2-blu-ray/):
Blu-ray & DVD Bonus Features Include:
4 All-New Deleted Scenes with Commentary by Marc Webb
Filmmaker Commentary
Alicia Keys “It’s On Again” music video
Exclusively Available on Blu-ray:
9 Additional Deleted Scenes with Commentary by Marc Webb, including “Peter Meets His Father”
“The Wages of Heroism: Making The Amazing Spider-Man 2,” featuring revealing, in-depth segments including:
“Lessons Learned: Development and Direction” — Filmmakers and cast discuss their approach to the sequel and their efforts to make it the best Spider-Man yet.
“Heart of the City: Shooting in New York” — A behind-the-scenes look at the film’s unprecedented access to New York City during production.
“Triple Threat: Attack of the Villains” — An inside look at the development of Spider-Man’s fearsome foes, Electro, the Green Goblin and Rhino.
“A More Dangerous World: Transforming Electro and the Green Goblin” — From make-up to costuming, see what it took to transform Jamie Foxx and Dane DeHaan into their fearsome alter-egos.
“A Bolt From the Blue: Visual Effects” — Sony Pictures Imageworks artists and animators show how they created the gravity defying, web-slinging and pumped-up action in the new film.
“Spidey Gets His Groove Back: Music and Editing” — Learn how the film’s soundtrack and score came together in this behind-the-scenes look at jam sessions with Composer Hans Zimmer and the team of master musicians he assembled, including Pharrell Williams, Johnny Marr, Michael Einziger and more.
Exclusive to the DVD:
New Public Service Announcement for the Worldwide Orphans Foundation (WWO), featuring Andrew Garfield & WWO CEO Dr. Jane Aronson
Friday, August 1, 2014
Song of Spider-Man
An interesting read offering insight into the creation of Spider-Man: Turn Off the Dark: Song of Spider-Man: The Inside Story of the Most Controversial Musical in Broadway History
By Glen Berger
Simon & Schuster
384 pages
Hardcover (ISBN 9781451684568) $25.00
eBook (ISBN 9781451684582) $12.99
November 2013
Trade Paperback (ISBN 9781451684575) $17.00
November 2014
As one can imagine, writing a Broadway musical has its challenges. But it turns out there are challenges one can’t imagine when collaborating with two rock legends and a superstar director to stage the biggest, most expensive production in theater history.
Song of Spider-Man is playwright Glen Berger’s story of a theatrical dream—or nightmare—come true. Renowned director Julie Taymor picked Berger to cowrite the book for a $25 million Spider-Man musical. Together—along with U2’s Bono and Edge— they would shape a work that was technically daring and emotionally profound, with a story fueled by the hero’s quest for love—and the villains’ quest for revenge. Or at least, that’s what they’d hoped for.
But when charismatic producer Tony Adams died suddenly, the show began to lose its footing. Soon the budget was ballooning, financing was evaporating, and producers were jumping ship or getting demoted. And then came the injuries. And then came word-of- mouth about the show itself. What followed was a pageant of foul-ups, falling-outs, ever-more-harrowing mishaps, and a whole lot of malfunctioning spider legs. This “circus-rock-and-roll-drama,” with its $65 million price tag, had become more of a spectacle than its creators ever wished for. During the show’s unprecedented seven months of previews, the company’s struggles to reach opening night inspired breathless tabloid coverage and garnered international notoriety.
Through it all, Berger observed the chaos with his signature mix of big ambition and self-deprecating humor. Song of Spider-Man records the journey of this cast and crew as a hilarious memoir about friendship, collaboration, the foibles of hubris, and the power of art to remind us that we’re alive.
Friday, July 25, 2014
3rd Global Conference: The Graphic Novel (Oxford, UK 9/3-5/14)
I seem to have missed this:
3rd Global Conference: The Graphic Novel (September 2014: Oxford, United Kingdom)
Location: United Kingdom
Conference Date: 2014-09-03
Date Submitted: 2014-01-08
Announcement ID: 210094
3rd Global Conference: The Graphic Novel
Wednesday 3rd September – Friday 5th September 2014
Mansfield College, Oxford, United Kingdom
Call for Presentations
“Behind this mask there is more than just flesh. Beneath this mask there is an idea… and ideas are bulletproof.”
(Alan Moore, V for Vendetta)
This inter- and multi-disciplinary conference aims to examine, explore and critically engage with issues in and around the production, creation and reading of all forms of comics and graphic novels. Taken as a form of pictographic narrative it has been with us since the first cave paintings and even in the 21st century remains a hugely popular, vibrant and culturally relevant means of communication whether expressed as sequential art, graphic literature, bandes dessinees, tebeos, fumetti, manga, manhwa, komiks, strips, historietas, quadrinhos, beeldverhalen, or just plain old comics. (as noted by Paul Gravett)
Whilst the form itself became established in the 19th Century it is perhaps not until the 20th century that comic book heroes like Superman (who has been around since 1938) became, not just beloved characters, but national icons. With the globalisation of publishing brands such as Marvel and DC it is no accident that there has been an increase in graphic novel adaptations and their associated merchandising. Movies such as X-men, Iron man, Watchmen and the recent Thor have grossed millions of dollars across the world and many television series have been continued off-screen in the graphic form, Buffy, Firefly and Farscape to name a few.
Of course America and Europe is not the only base of this art form and the Far East and Japan have their own traditions as well as a huge influence on graphic representations across the globe. In particular Japanese manga has influenced comics in Taiwan, South Korea, Hong Kong, China, France and the United States, and have created an amazing array of reflexive appropriations and re-appropriations, in not just in comics but in anime as well.
Of equal importance in this growth and relevance of the graphic novel are the smaller and independent publishers that have produced influential works such as Maus by Art Spiegleman, Persepolis by Marjane Satrapi, Palestine by Joe Sacco, Epileptic by David B and even Jimmy Corrigan by Chris Ware that explore, often on a personal level, contemporary concerns such as gender, diaspora, post-colonialism, sexuality, globalisation and approaches to health, terror and identity. Further to this the techniques and styles of the graphic novel have taken further form online creating entirely web-comics and hypertexts, as in John Cei Douglas’ Lost and Found and Shelley Jackson’s Patchwork Girl, as well as forming part of larger trans-media narratives and submersive worlds, as in the True Blood franchise that invites fans to enter and participate in constructing a narrative in many varied formats and locations.
This projects invites papers that consider the place of the comic or graphic novel in both history and location and the ways that it appropriates and is appropriated by other media in the enactment of individual, social and cultural identity.
Presentations, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to (but not limited to) the following themes:
1)Just what makes a Graphic Novel so Graphic and so Novel?:
~Sources, early representations and historical contexts of the form.
~Landmarks in development, format and narratology.
~Cartoons, comics, graphic novels and artists books.
~Words, images, texture and colour and what makes a GN
~Format, layout, speech bubbles and “where the *@#% do we go from here?”
2)The Inner and Outer Worlds of the Graphic Novel:
~Outer and Inner spaces; Thoughts, cities, and galaxies and other representations of graphic place and space.
~Differing temporalities, Chronotopes and “time flies”:
Intertextuality, editing and the nature of Graphic and/or Deleuzian time.
~Graphic Superstars and Words versus Pictures: Alan Moore v Dave Gibbons (Watchmen) Neil Gaiman v Jack Kirby (Sandman).
~Performance and performativity of, in and around graphic representations.
~Transcriptions and translations: literature into pictures, films into novels and high/low graphic arts.
3)Identity, Meanings and Otherness:
~GN as autobiography, witnessing, diary and narrative
~Representations of disability, illness, coping and normality
~Cultural appropriations, east to west and globalisation
~National identity, cultural icons and stereo-typical villains
~Immigration, postcolonial and stories of exile
~Representing gender, sexualities and non-normative identities.
~Politics, prejudices and polemics: banned, censored and comix that are just plain wrong”
~Other cultures, other voices, other words
4)To Infinity and Beyond: The Graphic Novel in the 21st Century: ~Fanzines and Slash-mags: individual identity through appropriation.
~Creator and Created: Interactions and interpolations between authors and audience.
~Hypertext, Multiple formats and inter-active narratives. ~Cross media appropriation, GN into film, gaming and merchandisng and vice versa
~Graphic Myths and visions of the future: Sandman, Hellboy, Ghost in the Shell.
~Restarting the Canon: what are the implication of the restart in universes such as Marcel and DC and do they represent the opportunity to reopen ongoing conversations?
Presentations will be accepted which deal with related areas and themes.
In order to support and encourage interdisciplinarity engagement, it is our intention to create the possibility of starting dialogues between the parallel events running during this conference. Delegates are welcome to attend up to two sessions in each of the concurrent conferences. We also propose to produce cross-over sessions between these groups – and we welcome proposals which deal with the relationship between The Graphic Novel and Augmentation.
What to Send:
300 word abstracts should be submitted by Friday 4th April 2014. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 11th July 2014. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word or RTF formats with the following information and in this order:
a) author(s), b) affiliation as you would like it to appear in programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords. E-mails should be entitled: GN3 Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Nadine Farghaly: Nadine.Farghaly@gmx.net
Rob Fisher:gn3@inter-disciplinary.net
The conference is part of the Education Hub series of research projects, which in turn belong to the At the Interface programmes of Inter-Disciplinary.Net. It aims to bring together people from different areas and interests to share ideas and explore discussions which are innovative and challenging. All proposals accepted for and presented at the conference must be in English and will be eligible for publication in an ISBN eBook. Selected proposals may be developed for publication in a themed hard copy volume(s). All publications from the conference will require editors, to be chosen from interested delegates from the conference.
Inter-Disciplinary.Net believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract for presentation.
For further details of the conference, please visit:
http://www.inter-disciplinary.net/at-the-interface/education/the-graphic-novel/call-for-papers/
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
Priory House
149B Wroslyn Road
Freeland, Oxfordshire OX29 8HR
United Kingdom
Tel: +44 (0)1993 882087
Fax: +44 (0)870 4601132
Email: gn3@inter-disciplinary.net
Visit the website at http://www.inter-disciplinary.net/at-the-interface/education/the-graphic-novel/call-for-papers/
3rd Global Conference: The Graphic Novel (September 2014: Oxford, United Kingdom)
Location: United Kingdom
Conference Date: 2014-09-03
Date Submitted: 2014-01-08
Announcement ID: 210094
3rd Global Conference: The Graphic Novel
Wednesday 3rd September – Friday 5th September 2014
Mansfield College, Oxford, United Kingdom
Call for Presentations
“Behind this mask there is more than just flesh. Beneath this mask there is an idea… and ideas are bulletproof.”
(Alan Moore, V for Vendetta)
This inter- and multi-disciplinary conference aims to examine, explore and critically engage with issues in and around the production, creation and reading of all forms of comics and graphic novels. Taken as a form of pictographic narrative it has been with us since the first cave paintings and even in the 21st century remains a hugely popular, vibrant and culturally relevant means of communication whether expressed as sequential art, graphic literature, bandes dessinees, tebeos, fumetti, manga, manhwa, komiks, strips, historietas, quadrinhos, beeldverhalen, or just plain old comics. (as noted by Paul Gravett)
Whilst the form itself became established in the 19th Century it is perhaps not until the 20th century that comic book heroes like Superman (who has been around since 1938) became, not just beloved characters, but national icons. With the globalisation of publishing brands such as Marvel and DC it is no accident that there has been an increase in graphic novel adaptations and their associated merchandising. Movies such as X-men, Iron man, Watchmen and the recent Thor have grossed millions of dollars across the world and many television series have been continued off-screen in the graphic form, Buffy, Firefly and Farscape to name a few.
Of course America and Europe is not the only base of this art form and the Far East and Japan have their own traditions as well as a huge influence on graphic representations across the globe. In particular Japanese manga has influenced comics in Taiwan, South Korea, Hong Kong, China, France and the United States, and have created an amazing array of reflexive appropriations and re-appropriations, in not just in comics but in anime as well.
Of equal importance in this growth and relevance of the graphic novel are the smaller and independent publishers that have produced influential works such as Maus by Art Spiegleman, Persepolis by Marjane Satrapi, Palestine by Joe Sacco, Epileptic by David B and even Jimmy Corrigan by Chris Ware that explore, often on a personal level, contemporary concerns such as gender, diaspora, post-colonialism, sexuality, globalisation and approaches to health, terror and identity. Further to this the techniques and styles of the graphic novel have taken further form online creating entirely web-comics and hypertexts, as in John Cei Douglas’ Lost and Found and Shelley Jackson’s Patchwork Girl, as well as forming part of larger trans-media narratives and submersive worlds, as in the True Blood franchise that invites fans to enter and participate in constructing a narrative in many varied formats and locations.
This projects invites papers that consider the place of the comic or graphic novel in both history and location and the ways that it appropriates and is appropriated by other media in the enactment of individual, social and cultural identity.
Presentations, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to (but not limited to) the following themes:
1)Just what makes a Graphic Novel so Graphic and so Novel?:
~Sources, early representations and historical contexts of the form.
~Landmarks in development, format and narratology.
~Cartoons, comics, graphic novels and artists books.
~Words, images, texture and colour and what makes a GN
~Format, layout, speech bubbles and “where the *@#% do we go from here?”
2)The Inner and Outer Worlds of the Graphic Novel:
~Outer and Inner spaces; Thoughts, cities, and galaxies and other representations of graphic place and space.
~Differing temporalities, Chronotopes and “time flies”:
Intertextuality, editing and the nature of Graphic and/or Deleuzian time.
~Graphic Superstars and Words versus Pictures: Alan Moore v Dave Gibbons (Watchmen) Neil Gaiman v Jack Kirby (Sandman).
~Performance and performativity of, in and around graphic representations.
~Transcriptions and translations: literature into pictures, films into novels and high/low graphic arts.
3)Identity, Meanings and Otherness:
~GN as autobiography, witnessing, diary and narrative
~Representations of disability, illness, coping and normality
~Cultural appropriations, east to west and globalisation
~National identity, cultural icons and stereo-typical villains
~Immigration, postcolonial and stories of exile
~Representing gender, sexualities and non-normative identities.
~Politics, prejudices and polemics: banned, censored and comix that are just plain wrong”
~Other cultures, other voices, other words
4)To Infinity and Beyond: The Graphic Novel in the 21st Century: ~Fanzines and Slash-mags: individual identity through appropriation.
~Creator and Created: Interactions and interpolations between authors and audience.
~Hypertext, Multiple formats and inter-active narratives. ~Cross media appropriation, GN into film, gaming and merchandisng and vice versa
~Graphic Myths and visions of the future: Sandman, Hellboy, Ghost in the Shell.
~Restarting the Canon: what are the implication of the restart in universes such as Marcel and DC and do they represent the opportunity to reopen ongoing conversations?
Presentations will be accepted which deal with related areas and themes.
In order to support and encourage interdisciplinarity engagement, it is our intention to create the possibility of starting dialogues between the parallel events running during this conference. Delegates are welcome to attend up to two sessions in each of the concurrent conferences. We also propose to produce cross-over sessions between these groups – and we welcome proposals which deal with the relationship between The Graphic Novel and Augmentation.
What to Send:
300 word abstracts should be submitted by Friday 4th April 2014. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 11th July 2014. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word or RTF formats with the following information and in this order:
a) author(s), b) affiliation as you would like it to appear in programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords. E-mails should be entitled: GN3 Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Nadine Farghaly: Nadine.Farghaly@gmx.net
Rob Fisher:gn3@inter-disciplinary.net
The conference is part of the Education Hub series of research projects, which in turn belong to the At the Interface programmes of Inter-Disciplinary.Net. It aims to bring together people from different areas and interests to share ideas and explore discussions which are innovative and challenging. All proposals accepted for and presented at the conference must be in English and will be eligible for publication in an ISBN eBook. Selected proposals may be developed for publication in a themed hard copy volume(s). All publications from the conference will require editors, to be chosen from interested delegates from the conference.
Inter-Disciplinary.Net believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract for presentation.
For further details of the conference, please visit:
http://www.inter-disciplinary.net/at-the-interface/education/the-graphic-novel/call-for-papers/
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
Priory House
149B Wroslyn Road
Freeland, Oxfordshire OX29 8HR
United Kingdom
Tel: +44 (0)1993 882087
Fax: +44 (0)870 4601132
Email: gn3@inter-disciplinary.net
Visit the website at http://www.inter-disciplinary.net/at-the-interface/education/the-graphic-novel/call-for-papers/
Tuesday, July 22, 2014
CFP Spec. Issue of American Periodicals on War and Periodicals (1/30/15)
CFP: Special Issue of American Periodicals on War and Periodicals (Abstracts Due: January 30, 2015)
full name / name of organization:
James Berkey and Mark Noonan
contact email:
james.berkey@duke.edu
CFP: Special Issue of American Periodicals on War and Periodicals
American Periodicals is currently seeking submissions for a special issue on “War and Periodicals,” guest edited by James Berkey (Duke University) and Mark Noonan (CUNY). The journal is devoted exclusively to scholarship and criticism relating to American magazines and newspapers of all periods.
With the Civil War sesquicentennial coming to a close and World War I centennial commemorations getting underway, the time is particularly ripe to engage in productive dialogue about war and periodicals. This special issue seeks to refract the already rich discussions taking place about war and culture through the lens of periodical studies. Writers for the special edition might address:
Send abstracts to James Berkey at james.berkey@duke.edu by January 30, 2015. Completed essays should be no more than 7500 words and will be due September 2015. All submissions should conform to the style of American Periodicals (see http://www.amperiodicals.org/?page_id=11) and will undergo peer review in keeping with the procedures of the journal. The issue will appear in the fall of 2016.
By web submission at 04/18/2014 - 21:05
full name / name of organization:
James Berkey and Mark Noonan
contact email:
james.berkey@duke.edu
CFP: Special Issue of American Periodicals on War and Periodicals
American Periodicals is currently seeking submissions for a special issue on “War and Periodicals,” guest edited by James Berkey (Duke University) and Mark Noonan (CUNY). The journal is devoted exclusively to scholarship and criticism relating to American magazines and newspapers of all periods.
With the Civil War sesquicentennial coming to a close and World War I centennial commemorations getting underway, the time is particularly ripe to engage in productive dialogue about war and periodicals. This special issue seeks to refract the already rich discussions taking place about war and culture through the lens of periodical studies. Writers for the special edition might address:
- periodicals as spaces of dialogue and/or dissent
- seriality and war
- the rise of the war correspondent
- women journalists
- photography and war
- soldier newspapers
- trench journalism
- fictional representations of war in periodicals
- anti-war publications
- the imagined communities of wartime America
- intra- and intertextual readings of war-time periodical fiction
- issues of authenticity in the representation of war in periodicals
- advertisements and war
- effect of war on periodicals (changes in editorial policies, suppression of material, etc.)
- major authors at war (Hemingway, Crane, Alcott, Wharton, Whitman)
- war in the periodical marketplace (competing visions amongst magazines)
- the yellow press
- illustrating war
- the appearance of periodicals in war-time fiction
- war and the radical Left (Ken, Mother Earth, The Masses)
- response to war in African American periodicals
- newspapers and war
- zines and war
- Digital Humanities approaches to war-time periodicals
- digital innovations in war journalism and photography (blogs, Twitter, Instagram, Hipstamatic)
- representing 9/11 in the periodicals
Send abstracts to James Berkey at james.berkey@duke.edu by January 30, 2015. Completed essays should be no more than 7500 words and will be due September 2015. All submissions should conform to the style of American Periodicals (see http://www.amperiodicals.org/?page_id=11) and will undergo peer review in keeping with the procedures of the journal. The issue will appear in the fall of 2016.
By web submission at 04/18/2014 - 21:05
CFP X-Men Films: A Cultural Analysis (9/27/14)
Call For Chapters: The X-Men Films: A Cultural Analysis
Call for Chapter Proposals on the X-Men Films
We would like to invite submissions of chapter proposals for an edited book on the X-Men film franchise. The volume, to be published by Rowman & Littlefield, is titled “The X-Men Films: A Cultural Analysis” and seeks to present scholarly research on the movies, their audiences, and their place within the entertainment industry. The overarching framework is cultural studies and media studies, yet the approach is interdisciplinary, so we welcome submissions that involve related disciplines.
The book focuses specifically on the X-Men movies (not the comics) as popular culture products of international relevance. While the films are rooted in the original Marvel series, they depart from it in various ways, constituting their own conceptual universe. Therefore, chapter proposals may consider the X-Men’s transformation from comics to movies, but should not deal primarily with the comic books.
Proposals may focus on any of the X-Men’s movie characters, on themes that run across several films, or on particular installments of the series—including the original trilogy that started in the year 2000, the recent prequels, and the ‘Wolverine’ offshoots. Since the franchise continues to expand (two more movies are already slated for release in upcoming years) we are looking for research that is relevant and timely. In particular, proposals may address textual aspects of the X-Men films, consider them in relationship to social
and political issues, compare them to other superhero movie series, or provide an understanding of their audiences. Proposals that deal with topics of importance for international/intercultural communication are
encouraged.
The following is a preliminary list of topics of interest:
Please send a 600-word abstract of your proposed chapter to bucciferro@gonzaga.edu, along with a short bio and contact information. The deadline for proposals is September 27, 2014.
The chapter selection will seek to represent a variety of analytical perspectives, disciplinary frameworks, and thematic clusters. The full chapters will be 5,500 – 6,000 words long and the manuscripts will be due in January 2015, with further revisions due in May 2015.
If you have questions, please contact Claudia Bucciferro, assistant professor of communication studies at Gonzaga University, at bucciferro@gonzaga.edu or (509) 313-3635.
Call for Chapter Proposals on the X-Men Films
We would like to invite submissions of chapter proposals for an edited book on the X-Men film franchise. The volume, to be published by Rowman & Littlefield, is titled “The X-Men Films: A Cultural Analysis” and seeks to present scholarly research on the movies, their audiences, and their place within the entertainment industry. The overarching framework is cultural studies and media studies, yet the approach is interdisciplinary, so we welcome submissions that involve related disciplines.
The book focuses specifically on the X-Men movies (not the comics) as popular culture products of international relevance. While the films are rooted in the original Marvel series, they depart from it in various ways, constituting their own conceptual universe. Therefore, chapter proposals may consider the X-Men’s transformation from comics to movies, but should not deal primarily with the comic books.
Proposals may focus on any of the X-Men’s movie characters, on themes that run across several films, or on particular installments of the series—including the original trilogy that started in the year 2000, the recent prequels, and the ‘Wolverine’ offshoots. Since the franchise continues to expand (two more movies are already slated for release in upcoming years) we are looking for research that is relevant and timely. In particular, proposals may address textual aspects of the X-Men films, consider them in relationship to social
and political issues, compare them to other superhero movie series, or provide an understanding of their audiences. Proposals that deal with topics of importance for international/intercultural communication are
encouraged.
The following is a preliminary list of topics of interest:
- Social issues reflected in the X-Men films
- Political subtexts found in the X-Men films
- Individual characters’ analysis (Wolverine, Prof X, Magneto, Mystique…)
- Representations of gender, race, class, age, and sexual orientation
- Issues of diversity, disability, inclusiveness, and marginalization
- Issues of otherness, identity, trauma, and belonging
- Portrayals of violence and war in the X-Men films
- Historical references (e.g. the Holocaust, the Vietnam War)
- Representations of power, politics, and the government
- Moral dilemmas, personal choices, and issues of social responsibility
- Portrayals of science, technology and change
- The X-Men’s transformation from comics to movies
- Industry aspects of the film franchise
- The X-Men in relationship to other Marvel superhero films (e.g. Avengers)
- Marvel’s X-Men versus DC-based series (e.g. Batman, Justice League)
- Original research on audiences and fans
- International/intercultural perspectives on the X-Men
- Beyond the X-Men: related themes in popular culture
Please send a 600-word abstract of your proposed chapter to bucciferro@gonzaga.edu, along with a short bio and contact information. The deadline for proposals is September 27, 2014.
The chapter selection will seek to represent a variety of analytical perspectives, disciplinary frameworks, and thematic clusters. The full chapters will be 5,500 – 6,000 words long and the manuscripts will be due in January 2015, with further revisions due in May 2015.
If you have questions, please contact Claudia Bucciferro, assistant professor of communication studies at Gonzaga University, at bucciferro@gonzaga.edu or (509) 313-3635.
CFP Comedy and Comics (9/30/14; NeMLA 4/30-5/3/15)
Comedy and Comics: Parody, Satire, and Humor in Superhero Narratives (Abstract Deadline 9/30/14)
full name / name of organization:
Northeast Modern Language Association (Toronto, 4/30-5/3/2015)
contact email:
derek.s.mcgrath@gmail.com
Stan Lee bristles at calling them "comic books," lest readers think they are only "funny books." This panel identifies how humor operates in works centered around superheroes—as parody, satire, and comedy. Potential topics include comedic twists on the superhero archetype; "campy" TV and film adaptations of "serious" characters; webcomics and humorous children's books; teaching satire through comics; and cross-cultural appropriation of the superhero motif.
Submit abstracts (300 words maximum) to Session ID#15447 at http://NeMLA.org/convention/2015/cfp.html. A free account at http://NeMLA.org/users/?operation=register is required to submit abstracts. Submit questions to websupport@nema.org or derek.s.mcgrath@gmail.com.
This session welcomes submissions on a range of topics. This session may draw together studies of comics and the superhero motif as captured in works published by mainstream and independent outlets, including the works of Mark Millar, Frank Miller, and Alan Moore, and in works including El Chapulín Colorado, Dr. Horrible, Robocop, El Santos, The Tick, and Tiger and Bunny. This session also can include presentations focused around children's literature, based on how often texts directed at younger readers—Bone, Captain Underpants, and The Powerpuff Girls—eschew the conceits of superhero narratives to appeal to audiences across multiple age groups. In addition, camp in comics motivates considerable discussion in gender and sexuality studies, as many scholars develop their scholarship out of the shadow of the Adam West Batman television series (itself continuing in new comic books released by publisher DC Comics). Additional topics can focus on the use of satire built around superheroes in fan communities online, such as The Hawkeye Initiative and Escher Girls.
By web submission at 07/14/2014 - 18:46
full name / name of organization:
Northeast Modern Language Association (Toronto, 4/30-5/3/2015)
contact email:
derek.s.mcgrath@gmail.com
Stan Lee bristles at calling them "comic books," lest readers think they are only "funny books." This panel identifies how humor operates in works centered around superheroes—as parody, satire, and comedy. Potential topics include comedic twists on the superhero archetype; "campy" TV and film adaptations of "serious" characters; webcomics and humorous children's books; teaching satire through comics; and cross-cultural appropriation of the superhero motif.
Submit abstracts (300 words maximum) to Session ID#15447 at http://NeMLA.org/convention/2015/cfp.html. A free account at http://NeMLA.org/users/?operation=register is required to submit abstracts. Submit questions to websupport@nema.org or derek.s.mcgrath@gmail.com.
This session welcomes submissions on a range of topics. This session may draw together studies of comics and the superhero motif as captured in works published by mainstream and independent outlets, including the works of Mark Millar, Frank Miller, and Alan Moore, and in works including El Chapulín Colorado, Dr. Horrible, Robocop, El Santos, The Tick, and Tiger and Bunny. This session also can include presentations focused around children's literature, based on how often texts directed at younger readers—Bone, Captain Underpants, and The Powerpuff Girls—eschew the conceits of superhero narratives to appeal to audiences across multiple age groups. In addition, camp in comics motivates considerable discussion in gender and sexuality studies, as many scholars develop their scholarship out of the shadow of the Adam West Batman television series (itself continuing in new comic books released by publisher DC Comics). Additional topics can focus on the use of satire built around superheroes in fan communities online, such as The Hawkeye Initiative and Escher Girls.
By web submission at 07/14/2014 - 18:46
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