Wednesday, July 16, 2014

Comics Alternative Podcast #92: Can't We Talk about Something More Pleasant?; Interesting Drug



On this episode of The Comics Alternative, Derek Royal and I review Can't We Talk about Something More Pleasant? A Memoir by Roz Chast (Bloomsbury), and Interesting Drug by Shaun Manning and Anna Wieszczyk (Archaia). We're both mightily impressed by how Chast, a staple at The New Yorker for over thirty years, uses her signature styles (visual, thematic) to tell the difficult story of the last years of her parents' lives with humor, compassion, and honesty. However, we're less sold on Interesting Drug's science fiction tale of time travel, addiction, deception, and the lure of nostalgia. But give us a listen, read the books, and judge for yourself!

As always, click the link above to stream the episode, or you can subscribe via iTunes.

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Wednesday, June 25, 2014

Comics Alternative Podcast #89: The Amateurs; The Superannuated Man #1; Star Trek: Harlan Ellison's Original "The City on the Edge of Forever" Teleplay #1




On this episode of The Comics Alternative, Derek Royal and I review Conor Stechschulte's disturbingly moody new graphic novella The Amateurs (Fantagraphics); the first issue of Ted McKeever's inky new mini-series The Superannuated Man (Image);  and the first issue of the lengthily named and historically convoluted Star Trek: Harlan Ellison's Original "The City on the Edge of Forever" Teleplay (IDW), adapted by Scott & David Tipton and J.K. Woodward. Join us for a discussion of 19th century fever dreams, scuba vs. mutated animal intrigue, an "adaptation" of a different stripe, and lots more.

As always, click the link above to stream the episode, or you can subscribe via iTunes.

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Tuesday, June 03, 2014

Call for Papers: Transformed by Comics: The Influence of Comics/BD/Graphic Novels on the Novel / Image & Narrative special issue (Sept 30)

Call for Papers
Transformed by Comics:
The Influence of Comics/BD/Graphic Novels
on the Novel
Special Issue of Image & Narrative

While there has been scholarly research on the influence of poetry on cinema, or the influence of paintings on poetry, as well as the relationship between film and fiction, little work has been published on the importance of comics and graphic novels for contemporary writing. Such a space is all the more obvious when one considers new works on the relationship between high and low culture, comics and fine art. What would for example a novelization of a BD, graphic novel or comic mean? What titles exist in today’s ‘comics aware’ culture and is there a forgotten tradition to discover? What codes, practices, themes and narrative techniques are significant for novelizations of text-image source texts?

There is a small but significant discussion on Chabon’s Kavalier and Clay (2001), or Jay Cantor’s Krazy Kat (1994) as well as Thomas Pynchon’s Gravity’s Rainbow (1973), but not much on Tom de Have’s Funny Papers (1985), Frederic Teuten’s Tintin in the New World (1993), Rick Moody’s Ice Storm (1994), Austin Grossman’s Soon I will be invincible (2007). More work is clearly needed, including on lost Anglophone texts, as well as sites from other cultural traditions.

We certainly need also to start to evaluate Francophone and other non-Anglophone examples. Do the novelists who also work with BD separate out their two fields of activity or work with more intermedial techniques? For example does Jean Teulé’s Bord Cadrage (2009) work as a complex play between forms? Not to mention work from Harry Morgan (alias Christian Wahl), who is a novelist, BD writer and theorist of comics. And what about the growing importance of Ludovic Debeurme, Benoit Peeters, François Rivière, Willy Mouele, and Joann Sfar? All of whom are working in spaces that sit between traditional fiction and the world of the comics. What about the novels in other languages? In Italian (e.g. Umberto Eco’s La Misteriosa Fiamma de la regina Loanna, 2004)? In Dutch? Spanish? German? Japanese? Also, if the comics world is dominated by male writers and male fans, are there women writers interested in subverting these phallocentric comics in their novels?

We invite papers on any aspect of this research question, including treatments of single authors or comparative works, theoretical engagements with underlying narratological and text-image questions, as well as cross-national expansions of the sense of the field. No special consideration is given for any cultural space, we encourage originality. Similarly papers on the pre-existing tradition of children’s literature and its adaptation strategies are welcome such as Dave Eggers’s novelisation of Where the Wild Things are.

Length & Deadlines:
400-500 word abstracts are invited for 30 September 2014
4000-5000 word essays to be completed after editorial selection for January 30 2015

The text will be published in a special issue of Image & Narrative after the traditional double blind review process.

Language: English or French
Contact editors: Hugo Frey (h.frey@chi.ac.uk) and Chris Reyns-Chikuma (reynschi@ualberta.ca)

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CFP: “I Don’t Think I am Like Other People”: Anomalous Embodiment in Young Adult Speculative Fiction / essay collection (Sept 15)

This CFP doesn't mention comics, but it seems there certainly should be opportunities for comics scholarship here...

Call For Papers:
“I Don’t Think I am Like Other People”
Anomalous Embodiment in
Young Adult Speculative Fiction

Editors Sherryl Vint and Mathieu Donner are seeking submissions for a volume of essays on young adult literature entitled Anomalous Embodiment in Young Adult Speculative Fiction.

The large commercial as well as critical successes of such works as J.K. Rowling’s Harry Potter, Suzanne Collins’s The Hunger Games, Philip Pullman’s His Dark Materials or Stephanie Meyer’s Twilight series have pushed young adult fiction to the forefront of the literary world. However, and though most of these texts themselves engage in one way or another with questions related to the body, and, more precisely, to a body that refuses to conform to social norms as to what a body ‘ought to be’, few academic studies have really explored the relation that young adult fiction entertains with this adolescent ‘abnormal’ body.

In her work on corporeal feminism, Volatile Bodies, Elizabeth Grosz suggests that adolescence is not only the period during which the body itself undergoes massive transformation, shifting from childhood to adulthood, but that it is also in this period that ‘the subject feels the greatest discord between the body image and the lived body, between its psychical idealized self-image and its bodily changes’ and that therefore, the ‘philosophical desire to transcend corporeality and its urges may be dated from this period’ (Volatile Bodies 75). Following upon Grosz’s observation, this interdisciplinary collection of essays addresses the relation that young adult fiction weaves between the adolescent body and the ‘norm’, this socially constructed idealized body image which the subject perceives to be in direct conflict with her/his own experience.

This collection will thus be centred on the representation, both positive and negative, of such body or bodies. From the vampiric and lycanthropic bodies of Twilight and Teen Wolf to the ‘harvested’ bodies of Neal Shusterman’s novel Unwind, YA fiction entertains a complex relation to the adolescent body. Often singularized as ‘abnormal’, this body comes to symbolise the violence of a hegemonic and normative medical discourse which constitutes itself around an ideal of ‘normality’. However, and more than a simple condemnation or interrogation of the problematic dominant representation of the corporeal within young adult fiction, this collection also proposes to explore how such texts can present a foray into new alternative territories. As such, the collection proposes a focus on what Gilles Deleuze and Félix Guattari’s label the anomalous body, or embodiment re-articulated not necessarily as the presumption of an inside and an outside of normality, but rather as ‘a position or set of positions in relation to a multiplicity’ (A Thousand Plateaus, 244), one which interrogates and challenges the setting of such a boundary by positioning itself at the threshold of normativity.

We are particularly looking for contributions on works which either (1) interrogate, problematize the dominant discourse on normative embodiment present in YA fiction, (2) emphasize, by a play on repetition or any other means, the limitations of the traditional discourse on the ‘abnormal’ or ‘disabled’ body, and signal the inherent violence of such normative paradigms, and/or (3) propose an alternative approach to the anomalous body. Relevant topics include (but are not limited to):
  • (Re-)Articulating disability;
  • The adolescent as ‘abnormally’ embodied;
  • Transcending gender and the sexuated body;
  • Medical norms and the violence of ‘normative’ embodiment;
  • Bodies and prosthetic technologies, or the posthuman boundary;
  • Genetics, Diseases and medication, or transforming the body from the inside;
  • Cognitive readings of the body, or how do we read body difference;
  • Embodied subjectivities, anomalous/abnormal consciousness
We invite proposals (approximately 500 words) for 8’000-10’000-word chapters by Monday 15th September. Abstract submissions should be included in a Word document and sent to Sherryl Vint (sherryl.vint@ucr.edu) and Mathieu Donner (Mathieu.Donner@nottingham.ac.uk). Please remember to include name, affiliation, academic title and email address. Postgraduate and early-careers researchers are encouraged to participate.

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CFP: Comics and Graphic Novels / Northeast Popular/American Culture Association (NEPCA) (June 9; Oct. 24-25)

Call for Papers
Comics and Graphic Novels
Northeast Popular/American Culture Association
(NEPCA)

The Northeast Popular/American Culture Association (NEPCA) is seeking paper proposals on comics and graphic novels for its fall conference to be held at Providence College in Providence, Rhode Island on October 24-25, 2014.

Please send 250-word electronic versions of your proposal to: Zack Kruse (area chair) at krusez@ipfw.edu and to Robert Hackey (program chair) at RHACKEY@providence.edu.

A wide range of topics will be considered; however, in an effort to best serve the medium and culture that make up comics, applicants are encouraged to deal with comics in a theoretical framework. Papers that demonstrate the role of comics in the broader cultural and critical discussion are preferred. Applicants should feel welcome to submit papers on the role of mainstream comics, independent comics, webcomics, strip comics, and underground comix.

With your submission, please include a two or three sentence description of yourself, your background, and your qualifications. There is an official submission form on the NEPCA website (nepca.wordpress.com) under the “Fall Conference” tab that should be completed and submitted to the area and program chairs noted above.

NEPCA presentations are generally 20 minutes in length and may be delivered either formally or informally. It is recommended that presentations on comics are accompanied by relevant images when it is reasonable to do so. NEPCA prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment involving graduate students, junior faculty, and senior scholars.

The deadline to submit proposals is June 9, 2014, and applicants will receive confirmation of their acceptance or rejection by mid July.

Receipt of proposals will be acknowledged by the area chair.

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Friday, May 23, 2014

CFP: The Ages of the Incredible Hulk / essay collection (July 15)

CFP:
The Ages of
the Incredible Hulk
Edited by Joseph J. Darowski
Publisher: McFarland & Company

The editor of The Ages of the Incredible Hulk: Essays on Marvel’s Jade Giant in Changing Times is seeking abstracts for essays which could be included in the upcoming collection. The essays should examine the relationships between Incredible Hulk comic books (or comic books featuring Hulk-related characters) and the social era when those comics were published. Analysis may demonstrate how the stories found in Hulk comic books and the creators who produced the comics embrace, reflect, or critique aspects of their contemporary culture. This will be a companion volume to The Ages of Superman, The Ages of Wonder Woman, The Ages of the X-Men, The Ages of the Avengers, and The Ages of Iron Man.

Potential chapters include, but are not limited to, the following:

Controlling the Bomb: A Scientist’s Unintended Consequences in The Incredible Hulk; Nuclear Power, the U.S. Military, and Fear: The Weaponization of Bruce Banner; Balance of Power: The Hulk’s Awkward Role in The Avengers; The Hulk Versus the U.S. Military in the Vietnam War Era; The Two Sides of Nuclear Power: Bruce Banner and Samuel Sterns; Hulk Versus the Abomination: Cold War Politics in Superhero Adventures; She-Hulk and the Working Woman; The Incredible Hulk: Crossroads and the Search for Identity; Raising Awareness of Child Abuse in Marvel Comics and a New Origin for the Hulk; Future Imperfect: Unchecked Power After the Cold War; Addressing AIDS in Marvel Comics: Jim Wilson, Rick Jones, and the Hulk; The Sensational She-Hulk and Hyper-Awareness of Contemporary Comics; Hulk: The End and Dystopian Fears in the New Millenium; Twenty-First Century Gladiator: Planet Hulk; Red Hulk: Becoming What You Fear.

Essays should focus on stories from the Hulk’s comic book adventures, not media adaptations of the character. Furthermore, essays should look at a single period of comic book history, rather than drawing comparisons between different publication eras. For example, an essay that analyzed Hulk comics from the early 1960s and contextualized them with what was happening in American society would be more likely to be accepted than an essay that contrasted Hulk comic books from the 1970s with Hulk comic books from the 1990s. Any team title or mini-series that features Hulk, or Hulk-related characters such as She-Hulk, Red Hulk, or Skarr, can be considered as source material for potential chapters. The completed essays should be approximately 15-20 double-spaced pages.

Abstracts (100-500 words) and CVs should be submitted by July 15, 2014.

Please submit via email to Joseph Darowski, darowskij@byui.edu

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Monday, May 05, 2014

CFP: Digital Comics, special issue of Networking Knowledge (July 11)

Call for Papers
Digital Comics
A special-themed issue of
Networking Knowledge,
the journal of the MeCCSA-PGN
Deadline for abstracts 11th July

The medium of comics has always evolved alongside the technology via which it is produced, distributed and consumed. In this age of easily accessible digital technologies, the comic form is undergoing a series of transformative changes. This remediation of the form has seen the medium change to accommodate the wider range of story-telling tropes and functionalities offered by the digital environment. Through portable touchscreen displays we are able to consume comics, film, animation, prose, games and other forms of interactive visual media. The multimodal capacity of these devices allows for the emergence of hybrid forms of comics which incorporate tropes from these other screen-based media.

Against this background, papers focused towards the following areas would sit well within this themed edition of Networking Knowledge:
  • New and emergent digital comic forms and technologies.
  • Changes to the underlying structures of the form as a result of digital mediation.
  • Crossovers, adaptation and hybridisation between comics and other digital media.
  • Acts of reading and the impact of digital mediation.
  • Aesthetic and literary analysis of digital comic narratives.
  • Digital distribution, changes in the industry and the threat of piracy.
  • Webcomics, widening readerships, minority voices and fan cultures.
  • Multimodality and comics relationship with larger transmedia narratives.
Other areas relevant to the study of digital comics will also be considered.

Abstracts of no more than 300 words for papers of 5,000 to 6,000 words should be submitted via e-mail to Jayms Nichols and Daniel Merlin Goodbrey at netknow@e-merl.com by Friday 11th July 2014.

Abstracts should specify the research question and make a clear connection to one or more aspects of the digital comics theme. Proposed papers must be original and must not have been published or accepted for publication elsewhere.

If you have any questions about the issue, please e-mail the address above. If you have questions about Networking Knowledge in general, please contact the editor, Sam Ward, at aaxsjw@nottingham.ac.uk.

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Wednesday, April 30, 2014

Comics Alternative Podcast 81: Hidden, Genesis, World War 3 Illustrated #45



On this episode of The Comics Alternative, Derek Royal and I review Hidden (Loïc Dauviller, Marc Lizano, and Greg Salsedo; First Second Books), Genesis (Nathan Edmondson, Alison Sampson, and Jason Wordie; Image Comics); and World War 3 Illustrated #45: Before and After (ed. Peter Kuper and Scott Cunningham; distributed by Top Shelf - still!). From a child's story of the Holocaust, to a SF meditation on the power of creation, to a socially conscious anthology about death, we've got you covered!

As always, click the link above to stream the episode, or you can subscribe via iTunes.

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Tuesday, April 22, 2014

Comics Alternative Interview: Shannon Wheeler



On this episode of The Comics Alternative, Derek Royal and I have the pleasure of interviewing cartoonist Shannon Wheeler. Previously best known for his not-so-super hero Too Much Coffee Man, today Shannon is everywhere, from his one-shot Astounding Villain House (published by Dark Horse) to his cartoons for the Bible re-telling God is Disappointed in You (written by Mark Russell; from Top Shelf) to his cartoons in The New Yorker - out-takes from which are collected in I Thought You Would be Funnier, I Told You So, and I Don't Get It (Boom Town).

Derek and I had a blast speaking with Shannon - so much so that we all kept talking well after the recording had stopped. Unfortunately, you won't get to hear our plans for world comedy domination in the podcast itself, but you will hear about the widely varied career of a genuinely funny man.

As always, click the link above to stream the episode, or you can subscribe via iTunes.




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Tuesday, April 08, 2014

Where I'll Be: Neil Hellman Library at The College of Saint Rose, April 9

Tomorrow evening I'll be speaking about my work with comics to students at The College of Saint Rose's Neil Hellman Library here in Albany, NY. I was invited to the event by librarian Kate Moss, after an introduction by my friend Kelly Meyer who also works at Saint Rose.

I'll be discussing the various research and other work I've done with comics, and also the types of comics which interest me (basically, all kinds!); but really, I'm most looking forward to talking with the students and seeing what their interests are. Kate tells me that she's heard a lot of enthusiasm for comics among the students there.

Also appearing will local cartoonist John Hebert, who was added to the program after this poster was already created. It's a small venue, so it's not really open to the general public. But who knows, this may be the start of more comics-related programming at the college!

- Poster by Jacqui Hopely, a colleague and friend of mine who also works at the Neil Hellman Library!

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Friday, April 04, 2014

Tales from the Green Scrapbook #6: Captain America in TV Guide, 1979

In this installment of our once-in-a-great-while series, Tales from the Green Scrabook (featuring scans of items I taped into an old notebook when I was a child), we have TV Guide ads from the 1979 made-for-television Captain America movies. If you're looking for any sort of fidelity to the original comic book source material, just move along - there's nothing to see here.

IMDB helpfully summarizes Cap's origin from the first movie (broadcast January 19, 1979):
When a commercial artist is almost murdered by spies looking for his late father's secrets, he is saved in surgery when the FLAG formula is injected into him.
Uh huh. And that uniform is, how shall we say, non-standard.


Apparently, the super-steroids created by Steve Rogers' father enable him to jump just like Wonder Woman did on her television series...


Things got a little better in Captain America II (helpfully subtitled on home video as "Death Too Soon"), broadcast on November 23 of the same year, if only because they got the costume nearly right this time, and because Christopher Lee can't help but add a touch of class.


Dig those action-packed opening credits!


OK, I did say that things got only a little better...

If anyone knows who illustrated these TV Guide ads, I'd love to hear from you.

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Thursday, March 27, 2014

Rare (?) "Superman The Movie" Tie-In Comic: Adventures of the Big Boy #266, 1979

When is a Superman comic book not a Superman comic book? Perhaps when it's Adventures of the Big Boy #266, a tie-in to the first Christopher Reeve Superman movie. I recall picking up this issue at a Marc's Big Boy restaurant on a family trip in our home state of Wisconsin. The Superman portion of this 16-page (including covers) classic is only the cover and the three-page lead story by Mari Foster with art by Big Boy-stalwart Manny Stallman. Big Boy, his friend Dolly, and Nugget the dog take a trip to a movie studio in "London, England" where they are met by Reeve, who talks about bulking up for the role. He also acts in a special flying scene with the trio, directed by Richard Donner himself, who "has directed hundreds of TV shows and movies like The Omen."

Even at age twelve, I realized that this thing was an oddity: A comic book with Superman on the cover that wasn't published by DC Comics? That never even mentioned DC Comics or included a trademark? That didn't mention that Superman was a comic-book character at all? But hey, it was a restaurant giveaway comic for little kids - what did I expect?

I recently ran across my vintage copy of this oddity when going through an old box of comics. The book boasts the world's most incomplete indicia (and it even leaves out the "the" before "Big Boy" on the cover!), so while I know that the issue was copyright 1979, I'm not sure which month it might have come out. I'm guessing early in the year, as Superman was released on December 15, 1978. Comic Vine lists the publication date as January 1, 1980, which can't be correct; and the usually authoritative Grand Comics Database is sketchy on this title and doesn't even have a listing for this issue. --Oh, wait, I see now that comicbookdb lists a cover date of June 1979. That would have given its young readers only a few weeks to enter its advertised "win a T-shirt that gives you sugarless bubblegum balls when you squeeze it" contest, deadline July 15, 1979. (I doubt that these books were dated three months in advance like newsstand comics were at the time.)

After I started to write this post, I panicked: What if there was already lots of information about this book out there somewhere? Luckily, a quick Google search yielded only a few brief mentions, plus the various database links I have in the previous paragraph, but nothing else of substance. (Even BookSteve himself hasn't seen this one!) But, who was I kidding? I'd already scanned the story, so of course I was going to post it anyway. So without further ado, here we go. Click to embiggen the images to a readable size, and "Enjoy!"



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Sunday, March 23, 2014

CFP: Comics and the Canon / "Partial Answers" journal issue (June 16)

Call for Papers
Comics and the Canon
a special issue of
Partial Answers:
Journal of Literature and the History of Ideas

Over the last three decades, comics, graphic memoirs, and graphic novels have emerged as literary, artistic, and cultural artifacts of central importance. Comics were once seen as outside what we might broadly call a literary and fine-arts "canon": as objects belonging to low culture rather than high culture, as ephemeral items rather than artworks of lasting and iconic significance, as lesser hybrids of word and image rather than as belonging to a specific demanding medium. And yet the last thirty years have seen the rise and impact of works that are serious, ambitious, and monumental — works in conversation with an established literary and artistic canon, and works which themselves make a claim to cultural centrality and significance. "Comics studies" has developed as an academic discipline; artists and critics have worked to recover the rich and understudied history of the medium, with the result that a "canon" of central figures is emerging.

What is gained and what is lost when we try to establish a Comics canon? How do artists make claims to cultural centrality by putting their work in conversation with more traditional canonical works, and how do they challenge the 'canon' through exploring alternative aesthetic values and subjects? In the canon-building process of winnowing and centralization, which works are elevated and which are excluded? Is there something perverse in canonizing works in a medium that has often characterized itself as marginal? What tensions are thereby exposed, not just in comics but also in the very process of canonization?

This collection invites essays on all aspects of comics and canonization, including
  • analyses of comics which rewrite or otherwise engage with canonical works of art, film and literature
  • studies that consider comics in relation to other artistic media in which word and image are traditionally combined (illustrated novels, illuminated manuscripts, film scripts and storyboards, etc.)
  • defenses and critiques of the artists whose works have become most central to the comics canon (Spiegelman, Satrapi, Bechdel)
  • arguments for the inclusion of understudied artists, artworks and movements in the comics canon
  • essays on the ways in which comics challenge the premises and processes of literary canonization
  • projections on the future of the ‘canon’ in comics classes and scholarship
Submissions (between 5,000 and 10,000 words, the Harvard system of references) are due by June 16, 2014. Authors of the papers that are accepted will be responsible for obtaining permissions to reprint illustrations.

The journal will accept electronic submissions, in Word or RTF, to be sent to partans@mail.huji.ac.il . For inquiries please contact the guest editor, Professor Ariela Freedman (Concordia University, Montreal) at ariela.freedman@concordia.ca

CFP also on-line at the Partial Answers website.

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Friday, March 21, 2014

Comics Alternative Podcast 75: Sheltered, Dead Boy Detectives, The Royals: Masters of War, and Black Dynamite



On today's episode of The Comics Alternative, Derek Royal and I review four new titles. First up is Sheltered vol. 1, "a pre-apocalyptic tale" of a survivalist camp gone wrong. We follow that with Dead Boy Detectives #1 and #2, the latest spin-off from The Sandman; Royals: Masters of War #1, a super-powered alternate history; and the faux-blaxploitation media tie-in, Black Dynamite #1. A potpourri of genres!

As always, click the link above to stream the episode, or you can subscribe via iTunes.

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Tuesday, February 25, 2014

CFP: The Punk Aesthetic in Comics / essay collection (June 2)

Call for Papers
The Punk Aesthetic in Comics

We have just received a contract from McFarland to compile a multi-contributor manuscript on comic books and the punk aesthetic.  Comics have long had a connection with subculture. In the punk movement, comics found an aesthetic that could help preach a message to the counterculture. This collection will include essays that examine how both mainstream and underground comics/comix have borrowed from and used the punk aesthetic for their own means. 

The OED indicates that the earliest usage of "punk" occurs in 1575, and then it was used as a synonym for prostitute, but the word has come a long way since then, and it has taken on many different permutations.  Rather than attempt to form a unified definition of "punk," we encourage submissions to take advantage of the flexibility of this word and to examine the punk aesthetic in unique and original directions. Furthermore, submissions are encouraged to explore texts from outside of the obligatory UK/US discussion, and certainly before the typical 1970s "start date" of the punk movement. 

Essay Format/Style:
Essays are to be 5000-7500 words long (typed and double-spaced) and should be written in clear, concrete terms, avoiding jargon whenever possible. Shorter essays may be accepted, but, in general, we are looking for thoroughly researched, scholarly discussions of the topic. We do want to encourage contributors to use images in their submissions. Because of the reluctance of some publishers to release their images for scholastic purposes, however, there will also be a need to limit those images. As a general guideline, contributors will need to avoid using comic book covers and use no more than 2-3 images in their submission.  We must also mention that contributors should avoid using song lyrics in their articles. While we understand the difficulties involved with writing about a cultural movement that is closely tied to music without being able to include lyrics from the songs that are a part of the movement, the rights to those songs are often aggressively defended by the copyright holders and we will be unable to secure permissions to use any song lyrics in the finished project. If you are invited to contribute your article to this collection, each author must provide us with ownership of the essay, the exclusive right to publish it, and you must seek permission from McFarland to republish any of the material as long as they are causing the book to be sold. Citations should appear in endnotes, and documentation and citations should follow MLA format.  For specifics, see the guidelines outlined here: http://www.comicsresearch.org/CAC/cite.html

Deadlines:
Anyone interested in contributing an essay should contact the editors at the email address punkcomicscollection@gmail.com, with a brief proposal (1-2 paragraphs) and a short description of their professional, educational, and publishing background no later than Monday, June 2, 2014. Invited essays will be due as e-mail attachments no later than Monday, January 19, 2015. Further information will be sent later to those who are invited to submit essays.

Possible primary texts include (but are not intended to be restricted to):
  • Air Gear
  • AKIRA
  • Beelzebub
  • Books of Magick: Life during Wartime
  • Cromartie High School
  • East Coast Rising
  • Eightball
  • Fashion Beast
  • Ghost in the Shell
  • Ghost World
  • Gokusen
  • Honour among Punks 
  • Hopeless Savages
  • How Loathsome
  • Judge Dredd
  • Kill Your Boyfriend
  • Kyou Kara Ore Wa!!  
  • Lobo
  • Love and Rockets
  • Mardock Scramble
  • Persepolis
  • Peter Pank
  • Punk Rock Jesus
  • Sandman
  • Scott Pilgrim
  • Shonan Junai Gumi (Shonan Purelove Gang) & Great Teacher Onizuka
  • Tank Girl
  • The Invisibles
  • Transmetropolitan
  • Underground Comix
  • V for Vendetta
  • Webcomics: xkcd, Nothing Nice to Say, The Oatmeal
  • X-Men
If you have any questions, you should not hesitate to contact us at the following email address: punkcomicscollection@gmail.com

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Tuesday, February 18, 2014

CFP: 2014 AX Anime and Manga Studies Symposium (May 1; July 3-6)

Call for Papers / Call for Speakers
2014 AX Anime and Manga Studies Symposium
July 3 - July 6
Anime Expo 2014

Los Angeles Convention Center (Los Angeles, CA)

www.anime-expo.org
Keynote Speaker:
Prof. Marc Steinberg (Concordia University, Montreal, Canada)
Submission Deadline: May 1, 2014

Japanese animation (anime) and comics (manga) represent one of the major contributions that Japan has made to global visual and popular culture. Indeed, for many people, their first - and sometimes only - contact with Japanese culture at all is through Japanese visual culture.

The field of anime and manga studies is young, only about 30 year old, but extraordinarily vibrant.
It welcomes a wide range of interpretations and approaches, draws on different disciplines and methodologies, and can involve both academics, industry professionals, independent scholars, and fans/enthusiasts.

A major goal of the Anime and Manga Studies Symposium is to bring together speakers from diverse backgrounds, fields and areas to exchange ideas, explore new directions, and contribute to building a community of anime and manga studies. Uniquely, the Anime and Manga Symposium is an integral part of the schedule of Anime Expo, the largest gathering of fans of Japanese popular culture in the U.S. This will give speakers an opportunity to present their research and scholarship directly to public, non-academic audience, to interact with fans of anime and manga from around the world, and to becomeparticipants in a celebration and appreciation of Japanese popular culture. In turn, the Symposium also serves to introduce convention attendees to the ideas and practices of formal scholarship of Japanesevisual culture.

Submissions on a wide range of topics dealing with anime and manga will be considered. Possible areas to explore can include—but are not limited to:
  • Critical studies of individual creators, directors and animators, especially in larger contexts such as anime/manga as a whole, animation, comics, Japanese literature/film, science fiction, war literature, etc.
  • Close readings of particular works, with a focus on genre conventions and subversions and relationships to previous works in anime/manga and other media.
  • Gender and Sexuality: Fan service and objectification, the male and female gaze, the interplay of male and female creators, producers, and audiences
  • Age, class, race, ethnicity/nationality and other social differences
  • Reflections on current social, political and ecological issues
  • Responses to the world and to Japanese history: The 3.11 Tohoku Disaster, World War II, interactions between Japan and other countries
  • The impact of new technologies (wireless communication, augmented reality, mobile computing) on storytelling in anime/manga
  • The use of remix culture: Adaptation and interpretation of Eastern, Western and other literatures and visual media in Japanese popular culture
  • Copyright, obscenity, and other legal issues
  • Anime and manga as tools of globalization and agents of promoting Japanese culture
  • The history and evolution of anime/manga fandom outside Japan: Fan practices and experiences—clubs, conventions, cosplay, fansites, fansubbing, anime music videos
  • The future of anime/manga consumption – streaming, online comics, crowdsourcing, etc.
  • Potentials for anime/manga as platforms for social change and anime/manga fans as actors of social change
  • The ethics and challenges of presenting Japanese popular culture products around the world
The Symposium particularly welcomes presentations on newer/emerging works and creators.

Speakers are also welcome to submit proposals for roundtable discussions on these and related topics.

Potential roundtables can include:
  • Differences in theoretical approaches to anime and manga
  • Anime/manga fan practices and activities in different countries, cultures and regions
  • New directions, new opportunities, and new challenges in thinking, writing, and teaching about anime/manga
The AX Anime and Manga Studies Symposium will be open to all AX attendees. Speakers are urged to consider subjects that will be of interest to general non-specialist audiences and do not require significant backgrounds in Asian Studies, media theory, literature, etc.

For consideration, please submit the title of your paper or panel, an abstract (300 words maximum) and a CV to mkoulikov@gmail.com

DEADLINE FOR SUBMISSIONS: May 1, 2014

All submissions will be peer-reviewed.

All invited participants will be offered free admission to Anime Expo.

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