Monday, April 27, 2015

International Comic Arts Forum Seeks Treasurer

(Note: I served on the ICAF Executive Committee in the conference's earlier years, and I can attest that this is a vital position. I hope that good people apply! GK)
 
The Executive Committee of the International Comic Arts Forum (ICAF), a leading comics studies conference in the US, announces an open call for the position of Treasurer.

A key officer position on our board, the Treasurer serves for a three-year (renewable) term, maintaining the financial health of our organization. Knowledge of the academic comics field and/or experience with 501(c)(3) non-profit organizations a plus but not required.

From our bylaws: 
The Treasurer shall be responsible for managing ICAF funds … making deposits into the ICAF treasury; ordering or requesting, with the Chair’s express approval, withdrawals from the treasury; maintaining an up-to-date record of activity in the treasury, including credits, debits, and a running balance; providing the Chair with regular updates regarding ICAF’s finances; and presenting to the Committee an annual financial report.
No compensation is offered; all ICAF Executive Committee officer positions are pro bono. Like all board members, the Treasurer takes part in the organization and smooth running of the conference.  ICAF recognizes the importance of diversity in all its recruitment.

The Treasurer will take up his/her duties as early as July 1, 2015. 

Please submit a CV and cover letter elaborating on your interest in and qualifications for the position.

The committee will accept applications until May 30, 2015. Please send applications to ExCom Chair José Alaniz at josealaniz23 [at] gmail.com.

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Comics Alternative Interview: Josh Fialkov and Kody Chamberlain of Punks the Comic



It's been about half a year (yikes!), but I'm back on an episode of The Comics Alternative! This time, Derek Royal and I interview Josh Fialkov and Kody Chamberlain, creators of Punks The Comic (Image). The title's a rollercoaster mishmash of joke-filled collage artwork, pop culture references, The Young Ones, and generally hilarious mayhem, starring Dog, Fist, Skull, and Abe Lincoln (of course). We talk to Josh and Kody about the new Punks collection (Volume 1: Nutpuncher), as well as about their collaborative process, creating humor in comics, and some of their other works.

Kody & Josh guest-star in one story.
My thanks to Kody for supplying this pre-dialog half-page image!
 

Our conversation was a lot of fun, and I hope that comes through in the recording. (Note that some of the language here is NSFW - but hey, the comics is titled Punks after all!)

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

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Monday, January 26, 2015

CFP: Comics in Medicine & Teaching / U of Nebraska (Feb. 23; Apr. 9-10)

CFP:
Comics in Medicine & Teaching:
Rethinking Comics as a Therapeutic
and Educational Tool
with Ian Williams and Paul Karasik
University of Nebraska - Kearney Colloquium
Kearney, Nebraska
April 9-10, 2015


Call for Papers, Posters, or Artwork
Although seen primarily as a form of entertainment for children and young adults, the potential of comic books as an educational tool was recognized very early on. The comic book in its modern form first appeared in the 1930s, and it was not long before the form’s educational potential was tapped with Classic Comics #1 (later Classics Illustrated), an adaptation of The Three Musketeers, first appearing in 1941.

Educators continue to experiment with comic books and graphic novels, and apply them in many different ways. They are wide ranging in their applicability, and flexible enough to be a tool for teaching literacy (e.g., Frey & Fisher, 2008; Monnin, 2013), the complexities of calculus (Gonick, 2011), or the nuance of business management (Short, Bauer, Ketchen, & Simon, 2011). In the field of medicine and mental/behavioral health, research is beginning to investigate comics and graphic novels as a tool for assisting patients and their families to construct and express their lived experiences of illness. Some initial applications have explored the use of graphic novels to convey family members’ painful experiences with hospice care for loved ones dying of terminal illnesses (Czerwiec & Huang, 2014) and with a loved one’s disability (Karasik & Karasik, 2004). Williams (2012) argues that the patient experience can be more fully understood through comic books and graphic novels because they integrate visual representations with narrative.

If you are involved in research or practice exploring the educational and therapeutic uses of the comic book, please consider submitting a proposal to share your work at a dynamic, interactive colloquium dedicated to rethinking the role of comics. We welcome abstracts describing creative work that has explored the interface of comic books/graphic novels in the fields of medicine or education. The creative work could be presented as a paper or poster presentation or as an actual work of art.

Submission Process
Submissions may be done electronically (Word, PDF, or RTF file format) to
ospcolloquium@unk.edu.

For Paper or Poster presentation, include the following information:
  1. Title
  2. Author(s) - include affiliation, email address, phone number
  3. Abstract (up to 250 words)
  4. Choice of presentation format: Paper presentation or Poster
For Creative Work/Artwork, include the following information:
  1. Title
  2. Dimension
  3. Media
  4. Artist Statement (1-3 paragraphs)
  5. Author - include affiliation, email address, phone number
Priority consideration will be given to submissions received by February 23, 2015 at midnight CST. Submissions will be considered until March 15, 2015.

If you have questions, please contact:
David K. Palmer, Ph.D.
University of Nebraska at Kearney
palmerd@unk.edu

Call for Manuscripts: ACME Comics Research Book Series (ongoing)

Call for Manuscripts:
ACME Comics Research
Book Series


The ACME Comics Research Group and the University Press of Liege (PULg) invite the submission of manuscripts on the study of comics/BD/manga/cartoons/graphic novels for the scholarly book series ACME. The ACME Book Series is bilingual: manuscripts in English and French are accepted.

The books in this series examine comics/BD/manga or dialogues between comics/BD/manga and other media (literature, film, new media, video games, the fine arts and so on). ACME is interdisciplinary and welcomes all theoretical perspectives, methodologies and backgrounds (literary studies, post-colonial studies, art history, semiotics, aesthetics, cultural studies, etc.). The aim of the series is to mirror the contextual, socio-political and formal diversity of the medium and its analysis as well as its interrelation with other forms of expression; contributions on adaptation, hybrid media and intermediality in the widest sense are therefore also welcome.

Please send a short description of the work (500-1000 words), a table of contents, a sample chapter together with a brief bio-bibliography with institution affiliation (if any) to members of the ACME editorial team, i.e., Aarnoud Rommens (aarnoud.rommens@ulg.ac.be), Björn-Olav Dozo (bo.dozo@ulg.ac.be) or Gert Meesters (gert.meesters@univ-lille3.fr). Please keep in mind that in this call we are looking for finished manuscripts (monographs, edited collections of essays, revised doctoral dissertations, etc.) or manuscripts near completion.

About ACME
A comics research group based at the University of Liège (Belgium), ACME gathers scholars from different disciplinary backgrounds who explore the form using various critical approaches, including art history, sociology, aesthetics and philosophy, semiotics, formalism, linguistics, literary and cognitive studies. The name of the group explicitly refers to Chris Ware’s project Acme Novelty Library whose innovative nature illustrates in its own way the ambitions of ACME within the academic world and beyond. The name ACME is also inspired by another eponymous model, i.e., the Warner Brothers cartoon corporation’s famous motto boasting that it is “a company that makes everything.” On the one hand, this maxim attests to the group’s embrace of interdisciplinarity. On the other, it expresses ACME’s conviction that comics studies deserve more than a marginal place in academia. For more information, visit http://www.acme.ulg.ac.be/ (English and French).

For more information on the University Press of Liege (PULg), please visit http://www.presses.ulg.ac.be/

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CFP: SANE Journal (April 27)

Call for Papers
SANE Journal
April 27, 2015

SANE journal: Sequential Art Narrative in Education

Researchers, scholars, teachers, administrators, specialists, and advanced graduate students are invited to submit works of research, reviews, and rationales. The mission of SANE Journal is to promote research regarding the integration of comic books, graphic novels, or “other” sequential art narratives in educational settings; including the teaching of comics or the ways in which the comics medium can instruct or cause a change in behavior. Manuscripts should be submitted by April 27 2015, with an anticipated publication date of July 2015.

SANE Journal is a peer-reviewed, open access interdisciplinary journal covering all things comics-and-education-related, from pre-k to doctorate. For more information, email Richard Graham (rgraham7@unl.edu). Articles can be submitted for review and possible inclusion by visiting: http://www.sanejournal.net/.

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CFP: Illustration, Comics, and Animation Conference (March 1; May 8-10)

General Call for Papers
Illustration, Comics,
and Animation Conference
Dartmouth College
May 8-10

What is the future of illustration studies? 
What can comics scholars learn from animation studies and vice versa?\ 
Do illustrated books or graphic novels resist the supposed obsolescence of the book? What do pictures want (now)?
These and related questions will be explored at the Illustration, Comics, and Animation Conference at Dartmouth College to be held May 8-10, 2015.

Scholars interested in the illustrated image in all of its mediated guises are invited to participate in this interdisciplinary conference. Nearly all illustrated or drawn ‘texts’ are eligible for consideration:
  • comics and graphic novels
  • cartoons and animated films
  • picture books
  • illustrated books
And given the uniquely plenary nature of the conference, which brings together scholarship on static and moving illustrations, preference will be given to proposals that seek to bridge visual media. Possible topics may include:
  • Individual titles by prominent practitioners in the field
  • Identity, subjectivity, authority, ideology or culture in or more type of illustration media
  • The future of particular schools of criticism (psychoanalysis, critical race theory, phenomenology, Marxism, feminism, queer theory, post-colonialism, formalism, aesthetic theories, etc.) and one or more type of illustration media
  • The contributions of archives and libraries to the study of comics, animation, and illustration.
The location of the conference may also be a source of inspiration for prospective participants. Not only does Dartmouth College lie in close proximity to the Center for Cartoon Studies in White River Junction, Vermont, it is also the origin of Theodor Geisel, Dr. Seuss, a Dartmouth graduate of the Class of 1925.

Individual papers should be no longer than 20 minutes. Panels shall be ninety minutes long and should be comprised of three presenters and one chair. Please send 300 word abstracts and a brief bio for each proposed paper no later than March 1, 2015.

Send all proposals and inquiries to:
Michael A. Chaney <michael.chaney@dartmouth.edu>

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Sunday, January 25, 2015

CFP: 6th Int'l Conference: Comics & Medicine (Jan. 30; July 16-18)

Call for Papers
6th International Conference
Comics and Medicine
16th – 18th July 2015
Culver Arts Center
University of California, Riverside

Theme
The theme of this year’s conference, Spaces of Care, invites us to think about space as a critical element in health care and comics. Receiving medical treatment can affect how we relate to and interact with each other and our environments. Medical care is often thought of as taking place primarily in clinical spaces. A strength of comics is their ability to visualize care beyond these settings to include geographic, physical, ideological, imaginative, temporal, and social spaces. We invite the submission of a wide variety of abstracts focusing on medicine and comics in any form (e.g. graphic novels, comic strips, manga, web comics) that examine topics including, but not limited to:
  • Comics depictions of architecture and design and their impact on illness and disability
  • Comics representations of physical spaces that impact the delivery of medical care
  • Use of comics to imagine new spaces for well-being and care
  • The use of comics in creating internal bodily spaces in medical education and illustration
  • The materiality of comics as a space for expressing or demonstrating care
  • The use of space in comics to evoke intersubjective understandings of health and illness narratives
  • The use of comics to visualize geographical, ideological, and/or political boundaries and access to medical therapies
  • Ethical implications of creating comics for patients, physicians, or institutions
  • Trends in, histories of, or the use of comics in healthcare
  • The interface of graphic medicine and popular culture
Confirmed Keynote Speakers
  • Carol Tyler – You’ll Never Know
  • Justin Green – Binky Brown Meets the Holy Virgin Mary
  • Steven Keewatin Sanderson – Darkness Calls, Invited Threat
  • Jared Gardner – Projections: Comics and the History of 21st Century Storytelling
For more information go to graphicmedicine.org

Formats
  • Lightning talks: 5-minute presentations with up to 15 slides. This format is meant to encourage submission of short presentations to share your work (e.g. comics, new research projects, new ideas) in a concise format.
  • Oral presentations: 15- to 20-minute presentations.
  • Panel discussions: 90-minute interviews or presentations by a panel of speakers
  • Workshops: 90-minute sessions intended to be “hands-on” interactive workshops for participants who wish to obtain particular skills with regard to comics and medicine. Suggested subjects for workshops are:
    • creating comics
    • understanding, reviewing, and critiquing comics
    • getting comics published
    • teaching and learning with comics
Submission Process
Proposals may be in Word, PDF, or RTF formats with the following information in this order:
author(s)

  • affiliation
  • email address
  • phone number
  • title of abstract
  • body of abstract
  • sample images or web links to work being discussed
  • presentation preference (see format options above)
  • equipment needed (e.g. AV projection, whiteboard, easel, etc.)

300-word proposals should be submitted online by Friday, January 30, 2015 to: graphic.medicine.conference@gmail.com

Abstracts will be peer-reviewed by an interdisciplinary selection committee. Notification of acceptance or rejection will be completed by the week of March 30th, 2015. While we cannot guarantee that presenters will receive their first choice of presentation format, we will attempt to honor preferences, and we will acknowledge the receipt of all proposals.

Please note: Presenters are responsible for session expenses (e.g. handouts and supplies) and personal expenses (travel, hotel, and registration fees). All presenters must register for the conference.

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Wednesday, December 10, 2014

CFP: The Comics World (essay collection) / Dec. 15

The Comics World:
Comics, Graphic Novels, and Their Publics
Call for Chapters
Benjamin Woo and Jeremy Stoll, eds.

In Comics versus Art, Bart Beaty introduces the notion of the comics world to describe the field of cultural production that is oriented to comics and comic art. Beaty is drawing on institutional approaches in the sociology of art that take all the actors involved in producing a work – not only the “artists” themselves but also curators, agents, dealers, critics, technical support staff, makers of specialized equipment or supplies, and various audiences – as their object of analysis. In this volume, we understand the comics world, by extension, as a set of interacting communities that condition the production, mediation, and consumption of comics and graphic novels. All these publics – in their differentiated but shared orientation to comics – make the comics world go round.

The comics world is a social space, and it needs to be approached in those terms. With this volume, we seek to provide an accessible introduction to social-scientific approaches to comics and graphic novels while simultaneously filling in the social, cultural, and institutional contexts of comics’ production and circulation with respect to particular communities of people engaged in comics-oriented practices.

We welcome contributions from a range of disciplinary perspectives and methodologies seeking to make sense of the people and practices oriented to comics. Proposals may include, but are not limited to, the following topics:

  • Creator communities (defined in terms of occupational role, publishing sector, gender, race/ethnicity, nationality, etc.)
  • Business, production and other support staff
  • Teachers and students
  • Distributors, retailers, critics, and other cultural intermediaries
  • Conventions, their organizers and participants
  • Audiences and fandoms
  • Relations of affiliation or conflict between any of these communities

The editors have received an expression of interest from a university press with a well- established list in comics studies.

Please submit an abstract of 500–800 words to Benjamin Woo (benjamin.woo@carleton.ca) by December 15, 2014. Abstracts should clearly outline the scope of the argument and describe the nature of the research undergirding this analysis. Final chapters will be between 7,000 and 8,000 words. Submitters will be notified of acceptance by January 15.

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Friday, October 31, 2014

Comics Alternative Podcast: Halloween Special 2014



On this special episode of The Comics Alternative, Derek Royal and I discuss a whole lot of Halloween and horror-themed comics. From a bumper collection of Richard Corben's Poe adaptations, to the new and dark Chilling Adventures of Sabrina (the teen-age witch), to Scooby-Doo and the gang's team-up with Batman and Robin to solve the mystery of the Man-Bat(s?), this one's got tricks and treats!

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

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Monday, October 20, 2014

Batman Events this Week at the Albany Public Library - Including a Talk by Me!


I'll be giving a talk entitled "Holy Multiple Personalities! The Many Faces of (The) Batman" at two branches of the Albany Public Library later this week: Thursday, October 23rd at the John A. Howe Branch, and Friday, October 24th at the Pine Hills Branch, at 4:00 p.m. both days. Expect lots of illustrations, along with Bat-babbling by me.

Here are a few of the promo photos for the event (featuring Stef Preston, Pine Hills' Youth Services Librarian, and myself, along with Stef's poster and a few items from my personal collection), courtesy of APL's eServices Librarian Deanna DiCarlo:




And Stef's flyer for the Friday event:


The press release below gives more details on my talks and the other Bat-Events being held those days. Hope to see some of you there!

FOR IMMEDIATE RELEASE: October 8, 2014
Contact: Stephanie Simon
Phone: 518.427.4344

PRESS RELEASE
Albany Public Library Celebrates Batman’s 75th Anniversary
With Talks by Comic Book Expert and Fun Activities Oct. 23-24

ALBANY, NY—Albany Public Library loves comic books and is celebrating a cool event in geek culture—the 75th anniversary of Batman (first appearance in Detective Comics #27)—with some fun programs on Oct. 23-24 featuring the Dark Knight. All programs are free and open to the public.

Holy Multiple Personalities! The Many Faces of (The) Batman
  • Oct. 23 (Thurs) at 4 to 5 pm – Howe Branch (105 Schuyler St., 472-9485)
  • Oct. 24 (Fri) at 4 to 5 pm – Pine Hills Branch (517 Western Ave., 482-7911)
In this discussion, comic book expert and author (and APL's own) Gene Kannenberg Jr. takes participants through a highly illustrated look back at the Caped Crusader’s many pop culture incarnations over the past 75 years: spooky, gun-toting mystery man from the 1940s; sci-fi adventurer of the 1950s; campy 1960s TV star; husky-voiced, armored avenger of recent films; and many more. This program is appropriate for all ages.

Batman Cupcake Battle
  • Oct. 23 (Thurs) at 4 to 5 pm – Pine Hills Branch (517 Western Ave., 482-7911)
Teens are challenged to decorate the perfect cupcake that only the Dark Knight or his arch nemesis, the Joker, would love. There will be two teams—one decorating in Batman style and the other with Joker flair. Cupcakes will be judged and the winning team gets a Batman-themed prize. This program is appropriate for ages 11-17. Registration is required at 482-7911 x230.

“Batman: Mask of the Phantasm”
  • Oct. 24 (Fri) at 5 to 6:30 pm – Pine Hills Branch (517 Western Ave., 482-7911)
This popular Batman animated feature from 1993 (rated PG) follows the Dark Knight as he searches for a shrouded vigilante who is knocking off prominent Gotham mob bosses. Attendees will also enjoy snacks, drinks, and Batman loot. This program is appropriate for all ages.
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Wednesday, September 24, 2014

CFP: The Scientific Imagination / ICFA / Orlando, FL (Oct 31; Mar 18-22)

Call for Paper and Panel Proposals
36th International Conference
on the Fantastic in the Arts
The Scientific Imagination
March 18-22, 2015
Marriott Orlando Airport Hotel

The ICFA welcomes papers on any aspect of the fantastic - including fantasy, science fiction, weird fiction, horror, gothic, and fairy tales.

This year, we are particularly interested in topics related to our theme, The Scientific Imagination. Join us as we explore the possibilities and intersections of science and imagination—from Faust and Frankenstein, through the Golden Age and the New Wave, to steampunk and mash-ups—in all their guises, including fiction, film, television, music, theater, comics, visual art, and social media. Papers might explore topics such as rationalism vs. belief, science for good and ill, alternate and speculative technologies and biologies, futurism, imaginary sciences, time travel, and the tensions inherent in discovery, among other topics. We welcome papers on the work of our guests: Guest of Honor James Morrow (winner of the Sturgeon Award, the World Fantasy Award, and two Nebula Awards), Guest of Honor Joan Slonczewski (winner of two Campbell Awards), and Guest Scholar Colin Milburn (author of Nanovision: Engineering the Future).

The Visual & Performing Arts and Audiences (VPAA) Division accepts papers on
  • visual arts such as comic books, paintings, architecture, sculpture, photographs and illustrations;
  • the performing arts, including (film, TV, game, pop/rock) music, dance and theater;
  • games, including fanfic, fan artwork and cosplay;
  • transformative texts, both fan and professional, including mashups and viral marketing;
  • and audience/reception studies concerning audiences for any medium or genre of the fantastic.

The VPAA Division Head is Isabella van Elferen. Queries can be sent to I.vanElferen@Kingston.ac.uk or I.A.M.vanElferen@gmail.com. Further contact information can be found below.

Our submissions portal will open soon to receive proposals: http://www.fantastic-arts.org/annual-conference/submissions/ . The deadline for submitting proposals is October 31.



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Tuesday, September 23, 2014

CFP: The Canadian Alternative / essay collection (April 30)

Call for Papers
The Canadian Alternative

For a proposed edited and refereed volume on Canadian graphic novelists and cartoonists. Dominick Grace and Eric Hoffman, editors of Dave Sim: Conversations, Chester Brown: Conversations, and Seth: Conversations for the University Press of Mississippi, are editing a collection of essays provisionally titled The Canadian Alternative: Canadian Cartoonists, Comics, and Graphic Novels. 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
  • 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, McFarlane, 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 Cage, 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). 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.

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CFP: Voyages / Int'l Graphic Novel and Comics Conf & Int'l Bande Dessinée Society Conf / Paris (Dec 31; Jun 22-27)

Call for Papers
Voyages
Sixth International Graphic Novel and Comics Conference /
Ninth International Bande Dessinée Society Conference
in collaboration with the joint conference of
l’Institut national d’histoire de l’art,
l’Université du Québec à Montréal et l’Université Lumière Lyon 2

Venue: University of London Institute in Paris/
Institut national d’histoire de l’art
Monday 22nd – Saturday 27th June 2015


From their earliest manifestations, comic art characters have travelled the globe and beyond. Whether realist or fantastical, drawn to educate or to amuse, comics have used their considerable and unique expressive power to depict journeys, both physically and mentally, to "elsewhere." As the medium has evolved worldwide into one attracting both an adult and a juvenile audience, this relationship to the voyage has diversified, as recently-developed trends such as “graphic journalism” attest. This conference will focus on the relationship of the sequential art form to the voyage and study representations of travel across the history of the medium up to the present day. The conference intends to consider the notion of "voyage" in a broad sense, to include related notions concerned both with geographical movement – such as migration, exile or deployment – and with the psychic journey.

With this inclusive framework in mind the organising committee for the joint International Graphic Novel and Comics conference and International Bande Dessinée Society (IBDS) conference welcome abstracts on all areas of scholarship relating to comics, the graphic novel, and bande dessinée.

Abstracts of 150-200 words in advance of a 20-minute paper, as well as questions and expressions of interest, should be sent to:
voyagesconference@gmail.com
or
c.macleod@ulip.lon.ac.uk

Deadline: 31st December 2014








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Friday, September 19, 2014

CFP: Graphic Justices of the Future: Law and Jurisprudence in Futuristic Comics / UK (no date given)

Call for Papers
Graphic Justices of the Future:
Law and Jurisprudence
in Futuristic Comics

This cfp is apparently available only as an image, from this website. For more information, contact thomas.giddens@smuc.ac.uk

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CFP: Marvel Feature Films / essay collection (Nov. 15)

Call for Papers
Marvel Feature Films
edited by Robert Moses Peaslee,
Matt 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:
Transformers (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 to Rob.weiner@ttu.edu and Matthew.mceniry@ttu.edu

Upon acceptance final essays will be due on Feb 15th.

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