Comics enthusiasts have long considered comics a uniquely participatory medium. As readers breathe life into static images, convert page space into narrative time, and transform splatters of ink into emotion, they engage with comics in languages that audiences and artists have developed in tandem, negotiating over generations The theme of this conference explores the idea of audiences in all its meanings. We consider, for example, comics audiences as physical people, individuals, and groups who engage with comics in different situations. Thus, the relationship of readers accessing comics in different languages allows inquiry into questions of translation and adaptation. Readers inhabiting different periods or surviving traumatic public and private moments allow historical and biographical readings. Attention to how audiences identify themselves — according to different or multiple racial, sexual, religious, ethnic, gender, or national identities, physical ability, or migration status — offers to validate marginalised perspectives and fracture traditional understandings. [...]

The Graphic Novels, Comics, and Popular Culture subject area chair welcomes presentation proposals on formal, cultural, historical, and theoretical dimensions of sequential art in all its forms (comics, graphic novels, anime, etc.).   Presentations may focus on a single work, put works into productive conversation with one another, or investigate relationships between works of sequential art and their transmedia adaptations ; in the latter case, however, significant emphasis should be placed on sequential art – those proposals focusing predominantly on film, television, gaming, or other formats might be better suited for other interest areas.   Authors may also submit field-provoking critical literature reviews intended to reframe scholarly discussion around major disciplinary themes or questions, works of sequential art history or historiography, ethnographic work concerning sequential art audiences, studies of the sequential art industry’s political economy, or investigations into new forms of sequential art storytelling, consumption, distribution, or marketing. Of course, [...]

The global production and distribution of Latinx graphic narratives, films, sitcom-format mainstream shows, digital visual products, and storytelling projects can be seen as a fairly new literary and narrative trendundergoing rapid evolution in the United States. Netflix shows like “One Day at a Time” or “Gente-fied” wereproduced during the same years as the graphic novels Diary of a Reluctant Dreamer. Undocumented Vignettesfrom a Pre-American Life (Ledesma, 2017) and Undocumented. A Worker’s Fight (Tonatiuh, 2018). Streetmurals, street signs, stickers, patches, comics, graphic novels, digital zines, illustrated short stories, webcomics, Instagram comics, and massive block-long illustration projects are constantly produced anddistributed by multidisciplinary sources and independent visual artists around the major cities of the American West. The storytelling of these graphic products travels from El Paso borderline to Phoenix AZ, from Tijuana toSan Diego to LA and Oakland, and passes through Portland all the way to Seattle. The Western side of the U.S.explores [...]

De manière plus complexe que les images simplistes dont elle se voit trop souvent affublée, la science-fiction est un univers de résistances : son histoire éditoriale aux lisières des genres canoniques et les thématiques de révolte – d’humains ou de non-humains, d’ailleurs – qu’elle a largement incorporées en sont des illustrations parmi tant d’autres. Sur un plan scientifique, les études francophones du politique semblent toutefois avoir peu travaillé cette dimension, alors que le genre a connu un développement notable et que son influence culturelle s’est étendue. Cette lacune est d’autant plus surprenante que les théories de la fiction ont montré que l’activité narrative possède des vertus de décentrement essentielles pour se penser autrement et que les effets peuvent être aussi politiques. Il y a donc un certain nombre de points aveugles dans les relations entre science-fiction et politique que cette section thématique propose d’explorer en profitant de la ressource heuristique [...]

ComIN stands for ​Comics in India​. As the name suggests, the discussions under this will be largely surrounded with primarily two themes : Comics + India. The need for such a space has been felt for long. A space that provides scope of dialogues to researchers, practitioners, publishers, and fans of the medium. The tradition of comics reading is nothing sort of new in India. The mythic figures, the kings with demons, flying superheroes in the local cities, the black and white detectives, and so many other characters have touched upon an India kid’s life at some point of time. With the popularity of technology driven entertainment, Indian comics has seen a transition of form and content. Lire l'appel en entier Lieu : Institut indien de technologie de Delhi Date : 5-6 décembre 2020 Langue : anglais Date limite d'envoi des propositions : 30 septembre 2020 Contact : comicsindia20@gmail.com