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Category Archives: Guest Writers

The Bi-Monthly ComFor Update for June 2018

by Laura Oehme

The summer term has started and the past two months since Julia’s update were rich in comics-related events in academia (and beyond) all over Germany. With regard to the ComFor itself, the biggest news is the new board of the society that was elected at the end of April. As part of the ComFor’s current online editorial team, I am particularly happy to see that Lukas R.A. Wilde – the longest-serving member and absolutely vital coordinator of the editorial team – has been chosen for the position of treasurer, but I am equally ecstatic about the reelection of Stephan Packard as president and the election of Véronique Sina as vice president of the society. For more information on all three board members, please see our introduction of the “ComFor’s New Managing Committee”.

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The Bi-Monthly ComFor Update for April 2018

By Julia Ingold

Finally, spring has arrived in most parts of Germany, and with it some exciting events. The summer term has just started and on our website we have again put together a list of most classes related to comics studies taught at German-speaking universities in various fields like history, literature or didactics. ComFor’s President Stephan Packard and the Comic Studies Working Group’s speaker Véronique Sina, for instance, are organizing a series of lectures at Cologne University under the title “Aktuelle Perspektiven der Comicforschung” (“Recent Perspectives in Comics Studies”). They compiled a broad program to shed some more light on the ever-expanding diversity of the field as an interdisciplinary practice. The speakers are from all different realms of the humanities (and even beyond), such as semiotics, media studies, linguistics, childhood studies, digital humanities, fan studies, sociology, narratology, political science, intersectionality studies, postcolonial studies and Japanese studies. The program intends to give students insights into the flourishing domain of comics studies and to teach them about methodology in media studies in general. For more information on this promising project visit our website.

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FRAME:WORKS Symposium 2017 – An Illustrated Report

Authors: Mark Hibbett, Guy Lawley, Tobias J. Yu-Kiener

Images: John Miers.

FRAME:WORKS was a one-day symposium on comics held at Central St Martins (CSM) on Friday, June 16th 2017, funded by University of the Arts London (UAL) Communities of Practice as a UAL Comics Studies Network event. It was organised by Mark Hibbett, Guy Lawley and Tobias J. Yu-Kiener, with sketch-noting by John Miers.

The symposium was devised to bring together a mix of comics academics, practitioners and professionals. Grouped into four thematic sessions, the speakers discussed the nature of working within frameworks, whether artistic, conceptual, professional or legal. The organisers envisioned that the term ‘framework’ could be perceived both negatively, as limitation and restriction, and positively, as a guiding and framing structure to a project. This idea was picked up by the speakers and carried on into the chaired discussions that concluded each panel.

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The Bi-Monthly ComFor Update for February 2018

By Lukas R. A. Wilde

It might be a little late to open the 2018 installments of our column with a “happy new year”… but nevertheless: happy new year! As usual, ComFor‘s 2018 started off with our edited lists of international comic book reading recommendations from some of our members. This time around, the participation was exceptionally high, with more than a dozen seasoned scholars, junior researchers and prolific journalists involved.

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Death to Bandes Dessinées! Long Live Hypergraphy

(Geste hypergraphique by Roberto Altmann, 1967)

by Antoine Sausverd

Translated by Annick Pellegrin

Edited by Lise Tannahill

Original publication: Sausverd, Antoine. “« À mort les bandes dessinées ! Vive l’hypergraphie ! » (Geste hypergraphique de Roberto Altmann, 1967)” TONIQUE avril 2017. Print.

For bande dessinée, the year 1967 seemed to favour formal and aesthetic experiments. After Les Aventures de Jodelle (1966), Pravda la survireuse appeared in the pages of the monthly Hara-Kiri from January to December, before being published in album format in 1968. The stylisation of shapes and the uniform solid colours were openly inspired from the pop art aesthetic. Similar to the exquisite corpse,[1] Saga de Xam by Nicolas Devil was an epic work that bore the marks of the counter cultures of its time: from chapter to chapter, the work alternated between various graphic styles, challenging established page layout norms.[2] The texts were written in three alphabets, two of which were invented and undecipherable, unless one consulted a correspondence table at the end of the work. Finally, the same year saw the release of the first situationist comics: posters and tracts reproduced bandes dessinées and replaced the content of the speech bubbles with excerpts of revolutionary political theories advocated by the Situationist International, that would play a significant role in triggering May 1968. It was also in 1967 that Geste hypergraphique, a strange album just as original as the previous ones, was published in Liechtenstein. Completely unnoticed at the time and still largely unknown to date, this “hypergraphique narration en 15 chants” [hypergraphic narration in 15 songs] was the work of a young Cuban aged 25, Roberto Altmann, who was at that point part of the lettrist group.

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Posted by on 2018/02/16 in Guest Writers, TONIQUE

 

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