Call For Papers: The Future in Comics

Organizers: The research group on comics at the English Department, Stockholm University

Where and When: Stockholm, 3^rd-5^th September

Call for papers, deadline/ Notification of acceptance: 15^th of April, 2015/10^th of May, 2015

Website: https://futureincomics.wordpress.com

E-mail for submissions: Submissions will be handled via easychair:

https://easychair.org/conferences/?conf=fic1

This conference aims to investigate ways in which comics explore the idea of "future." Its goal is to gather scholars from the field of comic studies and related fields, such as linguistics, philosophy, literary studies, cultural studies, sociology, anthropology, film studies as well as others that can discover a conceptual connection to the rigorous study of comics. Given our broad and yet specific purpose, we aim to discuss work on comics originating from all major traditions: French bande desineé, American and British comics, Italian fumetti, Japanese manga, and so on. In pursuing this cross-cultural approach, we wish to discuss not only how different conceptions of the future in comics can be compared and analysed, but also how comics offer unorthodox modes of representation that allow for creative, intellectual freedom that may be different from literature and cinema. In particular, we are interested in, but not limited to, discussing these themes:

·         The cross-roads between utopia and dystopia (e.g. Gundam's Universal Century, Transmetropolitan's representation of life in "the city", Harlock's 30^th century, the world of Rogue Trooper);

·         Apocalypses and new beginnings (e.g. Nausicaä's tragic millennium, Authority's new world, X-Men's days of future past, El eternauta's alien invasion);

·         The cities of the future (e.g. Dredd's Mega city one; Akira's neo-Tokyo; RanXeroX's Rome);

·         The humans of the future: mutants, augmented humans and cyborgs (e.g. Major Kusanagi in Ghost in the Shell, Tony Stark in Iron Man; 2000 A.D.'s ABC Warriors);

·         The politics of the future (e.g. Bilal's Nicopol Trilogy; Oshi's Patlabor trilogy; Marvel's Civil War);

·         Time and history (e.g. Watchmen; Planetary, Neon Genesis Evangelion)

·         Nostalgia for future pasts (e.g. Nadia, Arzach, Tom Strong, Satellite Sam);

·         Elaborations and revisitations of futures in comics (Pluto, Time², Le Transperceneige);

·         Futures set in stone, and how to avoid or reach them (X-Men's days of future past; AppleSeed, The Invisibles).

We hope to create a conference that not only discusses these topics and uncovers how they have been addressed in comics about the future, but also to lay the foundations of future research on these topics and develop new tools for advanced comics studies. We welcome abstracts between 400 and 500 words, excluding references and title. At the moment, we are aiming at securing publishing rights for selected papers from this conference, aiming at publication in December 2016.

For further information, please contact us at:

francesco.ursini@english.su.se or adnan.mahmutovic@english.su.se

Electronic registration will start by the 15^th of May.

Book Reviews

Apatoff, David, Nick Galifianakis, Mike Rhode, Chris Sparks, and Bill Watterson. The Art of Richard Thompson. Kansas City, MO: Andrews McMeel, 2014. 224 pp. $35. 978-1-4494-4795-3.

            Richard Thompson is one of the United States' premier cartoonists, having received accolades from stalwarts such as Pat Oliphant, who called him "Michelangelo with a sense of humor"; Edward Sorel, who thinks of him as "one of the best comic artists of his time"; and Arnold Roth, who "salutes" him for the "delightful absolute excellence of [his] artwork and thinking." Anyone familiar with Thompson's subtle and cerebral humor cartoons knows he is more than deserving of these remarks.

            Certainly the authors of The Art of Richard Thompson (David Apatoff, Nick Galifianakis, Mike Rhode, Chris Sparks, and Bill Watterson), all friends, feel that way as they assess his career, work habits, and personality, through observations of, interviews and discussions with, him, his own delightful essays, and many examples of his varied styles and forms of comic art.

            Thompson's oeuvre consists of, at least, illustrations, summary-type cartoons (his long-running "Richard's Poor Almanac" in the Washington Post), caricatures, and an award-winning comic strip ("Cul de Sac"), portrait-paintings, humorous writing, and rhyming ditties. The authors (pushed by self-named "The Enforcer" Mike Rhode) write in a light-hearted, humorous manner that fits Thompson's personality and work. Though they justifiably heap praise on him, they do so with levity and much admiration. The images chosen to supplement the text reflect Thompson's exquisite art, deep literary, history, music, and trivia knowledge, and brilliant use of language in captions containing silly rhymes, bon mots, and well-thought-out parodies. A few examples: an illustration labeled "Manhattan, 240, 193 B.C." showing a graffiti-splattered mammoth; subversive and cynical satirical everyday events, such as "Benjamin Franklin Cartoonist," showing his political contemporaries not understanding the symbolism of his "Join, or Die" cartoon, or "An Introduction to Electronic Voting," where the technology fails miserably; and, to the surprise of this reviewer, refined (or simply-drawn) and artistically, often contextually-funny caricatures that interviewer and acclaimed caricaturist John Kascht said, "capture(s) a likeness in a new way. Your drawing isn't like him, it is him."

            A number of Thompson's caricatures are of classical music maestros that he liked and whose works he played earlier when he was a pianist; others were of politicians (Ross Perot emerging mole-like on the White House lawn or Bill Clinton discretely discarding his wedding band upon laying eyes on a scantily-clad lass), entertainers (Elizabeth Taylor loaded down with a slew of expensive fur coats on a blistering hot day -- even the head of one of the furry animals she wears pleads for water), literati, sports figures, and more. In the interview, Thompson explained he draws people he likes or admires (exceptions George W. Bush and Jesse Helms), without anger, from memory, seeking to find his subject's "emotion."

            Seeing that Thompson's "Cul de Sac" has been favorably compared to the classic "Calvin & Hobbes," it seems natural that Bill Watterson would interview him. (To get Watterson to come out of seclusion for the occasion was a feat in itself.) The interview serves a double usage, mixing Watterson's experiences and views with those of his interviewee. Obviously, Thompson knows and appreciates the works of fellow comic strip artists, slipping into "Cul de Sac" an occasional "Little Neuro in Slumberland" or a subtle reference to a "Peanuts" character.

            The Art of Richard Thompson is a masterpiece, beautifully designed, intelligently planned, and craftily written. It will bring joy and laughter to the casual reader, knowledge about the whos, whys, and hows of cartooning to practitioners and scholars, and aesthetic pleasure to the art-inclined. It is a book that can comfortably grace a coffee table, fill a slot in a library reference section, or sit on the drawing table of a cartoonist.

            John A. Lent

Dear colleagues,

We invite you to join us in an effort to deepen global engagement of students in the classroom, without requiring travel abroad, by implementing project-based online collaboration within existing courses.  Since 2013, the University of Washington Bothell has been implementing an initiative that connects classes on our campus to those in Egypt, India, Peru, South Africa and others. Read more at: http://www.uwb.edu/globalinitiatives/academic/coil-initiative  

* COIL (Collaborative Online International Learning) is an approach to fostering global competence through development of a multicultural learning environment that links university classes in different countries. Using various communication technologies, students from different countries complete shared assignments and projects, with faculty members from each country co-teaching and managing coursework.

Technology-enabled global engagement is a growing internationalization trend, as highlighted in a recent article published by NAFSA on this topic, "New Windows on the World" by Christopher Connell, NAFSA International Educator, May/June 2014.

Natalia Dyba

Director of Global Initiatives

University of Washington Bothell

UW1-186 | Box 358555

18115 Campus Way NE | Bothell, WA 98011

Email: nataliak@uw.edu

Web: http://www.uwb.edu/globalinitiatives

SECOND CALL FOR PAPER (BY POPULAR DEMAND!)

Organizers: The research group on comics at the English Department, Stockholm University

Where and When: Stockholm, 3rd-5th September

Call for papers, deadline/ Notification of acceptance: 10th of May, 2015/15th of May, 2015

Website: https://futureincomics.wordpress.com

E-mail for submissions: Submissions will be handled via easychair:

https://easychair.org/conferences/?conf=fic1

This conference aims to investigate ways in which comics explore the idea of "future." Its goal is to gather scholars from the field of comic studies and related fields, such as linguistics, philosophy, literary studies, cultural studies, sociology, anthropology, film studies as well as others that can discover a conceptual connection to the rigorous study of comics. Given our broad and yet specific purpose, we aim to discuss work on comics originating from all major traditions: French bande desineé, American and British comics, Italian fumetti, Japanese manga, and so on. In pursuing this cross-cultural approach, we wish to discuss not only how different conceptions of the future in comics can be compared and analysed, but also how comics offer unorthodox modes of representation that allow for creative, intellectual freedom that may be different from literature and cinema. In particular, we are interested in, but not limited to, discussing these themes:

·         The cross-roads between utopia and dystopia (e.g. Gundam's Universal Century);

·         Transmetropolitan's representation of life in "the city", Harlock's 30th century, the world of Rogue Trooper);

·         Apocalypses and new beginnings (e.g. Nausicaä's tragic millennium, Authority's new world, X-Men's days of future past, El eternauta's alien invasion);

·         The cities of the future (e.g. Dredd's Mega city one, Akira's neo-Tokyo, RanXeroX's Rome);

·         The humans of the future: mutants, augmented humans and cyborgs (e.g. Major Kusanagi in Ghost in the Shell, Tony Stark in Iron Man; 2000 A.D.'s ABC Warriors);

·         The politics of the future (e.g. Bilal's Nicopol Trilogy, Oshi's Patlabor trilogy, Marvel's Civil War);

·         Time and history (e.g. Watchmen, Planetary, Neon Genesis Evangelion);

·         Nostalgia for future pasts (e.g. Nadia, Arzach, Tom Strong, Satellite Sam);

·         Elaborations and revisitations of futures in comics (Pluto, Time², Le Transperceneige);

·         Futures set in stone, and how to avoid or reach them (X-Men's days of future past, AppleSeed, The Invisibles).

We hope to create a conference that not only discusses these topics and uncovers how they have been addressed in comics about the future, but also to lay the foundations of future research on these topics and develop new tools for advanced comics studies. We welcome abstracts between 400 and 500 words, excluding references and title. At the moment, we are aiming at securing publishing rights for selected papers from this conference, aiming at publication in December 2016.

For further information, please contact us at:
francesco.ursini@english.su.se
or
adnan.mahmutovic@english.su.se

Electronic registration will start by the 16th of May.

(posted at the request of the editors)

Call for book chapter proposals: Todo Fontanarrosa: la obra de un completo humorista / All Fontanarrosa: The Work of a Complete Humourist

Editors: Dr Celina Bortolotto(Massey University, New Zealand) and Dr Annick Pellegrin (University of Mauritius)

Contact email:fontanarrosaproject@gmail.com

When the Argentine Roberto Fontanarrosa passed away in 2007, a national day of mourning was declared and his funeral was attended by thousands. Although Fontanarrosa was much loved and both the man and his works have received public recognition time and again, there are very few published academic works on his œuvreto this day. This proposed anthology seeks to fill this gap by paying attention to Fontanarrosa's work as a whole.

We therefore invite papers in English, Spanish or Portuguese that consider any aspect of Fontanarrosa's œuvre, including but not limited to:

-          short stories and novels

-          comics

-          cinema and theatre

-          interviews and public addresses (such as his famous speech on "Las malas palabras")

Abstracts of 1000 words and a short CV should be sent to fontanarrosaproject@gmail.com by 31 December 2015 for consideration. Please write your family name(s) and "Fontanarrosa project" in the subject line. If accepted, full papers will be due on 31 May 2016.

Llamado a propuestas de contribuciones para edición académica: Todo Fontanarrosa: la obra de un completo humorista / All Fontanarrosa: The Work of a Complete Humourist

Editores: Dra. Celina Bortolotto (Massey University, Nueva Zelanda) y Dra. Annick Pellegrin (Universidad de Mauricio)

Contacto:fontanarrosaproject@gmail.com

Cuando el argentino Roberto Fontanarrosa falleció en el año 2007, el país declaró duelo nacional y miles de admiradores asistieron a su funeral. Si bien este humorista es muy querido y recordado y su trabajo ha recibido múltiples reconocimientos, a la fecha existen muy pocas publicaciones académicas sobre su obra. La propuesta de esta antología es suplir esta falta al considerar en profundidad la producción de Fontanarrosa en su conjunto.

Por ello invitamos artículos académicos en español, inglés o portugués que consideren cualquier aspecto de la obra de Fontanarrosa, incluyendo pero no limitándose a:

-          narrativa (cuentos y novelas)

-          historietas

-          cine y teatro

-          entrevistas y presentaciones (como la tan conocida sobre "Las malas palabras")

Las propuestas de hasta 1.000 palabras deberán enviarse a: fontanarrosaproject@gmail.com antes del 31 de diciembre de 2015, incluyendo una breve biografía del/a autor/a. Favor de escribir su(s) apellido(s) y "Proyecto Fontanarrosa" en el asunto de su correo electrónico. De ser aceptados, los capítulos deberán presentarse en versión final antes del 31 de mayo de 2016.

Just Announced Keynote Speakers and Industry Guests (more details below):

Professor Henry Jenkins – Provost Professor of Communication, Journalism, Cinematic Arts and Education at University of Southern California and the author of landmark fan and transmedia research including Convergence Culture: Where Old and New Media Collide

Paul Dini – Writer of the Emmy Award-winning Batman: The Animated Series, best-selling video game Batman: Arkham Asylum, and the Eisner Award-winning comic Mad Love

Hope Larson – Eisner Award-winning graphic novelist (A Wrinkle in Time), co-creator of Boom! Comics'Goldie Vance, and writer of DC Comics new reimagining of Batgirl

CALL FOR PAPERS

Superhero Identities Symposium

Venue: Australian Centre for the Moving Image (ACMI) – Melbourne, Australia – 8-9 December 2016

It is hard to imagine a time when superheroes have been more pervasive in popular culture. As one of our most beloved folkloric traditions these costume-clad adventurers have become a means to negotiate and articulate identities in response to fictional heroes. Superhero identities range from those that symbolise a nation, to web communities that use cosplay to challenge gender roles, and the people of a city coming together under the banner of a caped crusader. This symposium will examine the many intersections between superheroes and identity. From big screen heroes to lesser-known comic book vigilantes and real-life costumed heroes, the symposium will include papers that consider superheroes across all eras and media platforms

We are inviting submissions for individual research papers of 20 minutes as well as pre-formed panels. Proposal topics might include, but are not limited to, the following areas: 

Super-Activism

One of the central tenets of the superhero story is the transition of unassuming civilians into costume-clad heroes. This narrative is not confined to the comic book page as the people of San Francisco demonstrated when they came together to realise the adventures of Batkid. Proposals are invited that consider how superheroes have become icons of activism and community engagement.

National and Regional Identities

Comic books are often considered an American form, and the medium's most popular character, the superhero, did much to affirm that link with dozens of star-spangled heroes created during the industry's Golden Age. However, the superhero has been reimagined in a range of contexts to respond to local cultures, politics, and traditions. Papers that consider how superheroes engage with national and regional identities are welcome.

Secret Identities

The masquerade and imaginative possibilities of superheroes, coupled with their high concept settings, have allowed these characters to engage with issues and interests that were often difficult to tackle in more "grounded" stories. Papers that consider how superheroes address topics such as gender, sexuality, and ethnicity are invited.

Audiences, Fans, and Superheroes

Whether it is t-shirts adorned with a familiar logo or convention cosplay and fan fiction, superheroes compel participation. We encourage papers that examine the range of this engagement from casual movie audiences to avid consumers.

Supervillains

The supervillain is often understood as the hero's dark double. This symposium welcomes papers that consider the identitiesof the supervillains, and their relationship to the above topics.

The Superhero Identities symposium is organised by the Superheroes & Me research team – Angela Ndalianis (University of Melbourne), Liam Burke (Swinburne University of Technology), Elizabeth MacFarlane (University of Melbourne), Wendy Haslem (University of Melbourne), and Ian Gordon (National University of Singapore)  – and supported by the Australian Research Council (ARC) and Australian Centre for the Moving Image (ACMI).

Proposals of 250-300 words for individual presentations or full panels, as well as any queries, should be sent to wburke@swin.edu.au by June 24, 2016, along with a 150-word bio.

Keynote Speakers and Industry Guests

Professor Henry Jenkins

Henry Jenkins joined USC from the Massachusetts Institute of Technology, where he was Peter de Florez Professor in the Humanities. He directed MIT's Comparative Media Studies graduate degree program from 1993-2009, setting an innovative research agenda during a time of fundamental change in communication, journalism and entertainment.

As one of the first media scholars to chart the changing role of the audience in an environment of increasingly pervasive digital content, Jenkins has been at the forefront of understanding the effects of participatory media on society, politics and culture. His research gives key insights to the success of social-networking websites, networked computer games, online fan communities and other advocacy organizations, and emerging news media outlets.

Paul Dini

Paul Dini is the Emmy, Eisner, and Annie Award-winning writer of some of the most popular superhero stories ever across animation, film, comics, and games. He is co-creator of the Batman: The Animated Series and related shows and films Batman: Mask of the Phantasm, Superman: The Animated Series, and Batman Beyond. While working on Batman, Dini co-created fan favourite character Harley Quinn who makes her film debut in August's Suicide Squad.Moving to games, Dini is the writer of the best-selling Batman: Arkham Asylum game.

His 2016 graphic novel Dark Night: A True Batman Story is a harrowing and eloquent autobiographical tale of Dini's courageous struggle to overcome a desperate situation.

Other credits include ABC's Lost, Star Wars spin-offs Ewoks and Clone Wars, Tiny Toons Adventures, Animaniacs, Freakzoid!, Ultimate Spider-Man, DC Comics Harley Quinn, Superman: Peace on Earth, and Mad Love.

Hope Larson

Hope Larson is the New York Times bestselling author of six graphic novels, notably her graphic novel adaptation of Madeleine L'Engle's A Wrinkle in Time (Farrar, Straus and Giroux), and co-creator of Boom! Comics'Goldie Vance. Forthcoming projects include two graphic novels, Compass South and Knife's Edge (Farrar, Straus & Giroux) and, starting in July 2016, a reimagining of DC Comics'Batgirl. Her short comics have been published by the New York Times, Vertigo, and in several anthologies, including Flight and DC Comics'Gotham Academy Yearbook.

In addition to her comics work, Larson has explored filmmaking. She is the writer and director of two short projects. Bitter Orange, starring Brie Larson, James Urbaniak and Brendan Hines, is a tale of crime in 1920s Hollywood. Did We Live Too Fast is a Twilight Zone-inspired music video created for Mary Elizabeth Winstead and Dan the Automator's band, Got A Girl; it was used as the centerpiece of their 2015 tour.