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Category Archives: Guest Writers

The Future Art of the Past? An e-panel on comics and archaeology – Part 1, edited by John Swogger

Featuring: Chloe Brown, Peter Connelly, Troy Lovata, Hannah Sackett, John Swogger and Al B. Wesolowsky

Ancient artefacts, lost archaeological expeditions and ruins long hidden in jungles and deserts have long been part of comics heritage. From the EC Comics clichés of lost pyramids and ancient curses through to the Phantom and Adele Blanc-Sec, archaeology has long served as an inspiration for comics writers and illustrators.

It is only relatively recently that archaeologists themselves, however, have begun to use comics in a professional context. The list of published examples is not long, but includes works like Archaeology: The Comic (Johannes Loubser, 2003) and the archaeological comic ‘zine Shovel Bum (Trent DeBoer, ed., 1997 – present; collected edition, 2004).

This e-panel brings together six archaeologists, all of whom are making comics about archaeology, aimed at a wide range of audiences. Their work explores new ways of using comics as a medium for science communication.

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Posted by on 2014/03/11 in Guest Writers

 

Graphixia at Comics Forum 2013

Comics Forum is pleased to feature five videos today by the team from Graphixia. The first four videos, under the collected title of ‘Small is the New Big: The Comics Criticism Blog as Small Press Analogue’ comprise the Graphixia panel from the 2013 conference, including in-person presentations from Peter Wilkins, Hattie Kennedy, Damon Herd and Paddy Johnston, as well as off-site videos from Brenna Clarke Gray and David N. Wright. The fifth video ‘Graphixia interviews at Comics Forum 2013’ includes interviews with many of the presenters who participated in Comics Forum 2013. For more from the Graphixia team be sure to check out their website. Many thanks to the team for making these videos available for publication here.

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Small is the New Big: The Comics Criticism Blog as Small Press Analogue

Video 1 – Graphixia Comics Forum Conference Panel from Digital Cultures Lab on Vimeo.

Video 2- Graphixia Comics Forum Conference Panel from Digital Cultures Lab on Vimeo.

Video 3 – Graphixia Comics Forum Conference Panel from Digital Cultures Lab on Vimeo.

Video 4 – Graphixia Comics Forum Conference Panel from Digital Cultures Lab on Vimeo.

Graphixia interviews at Comics Forum 2013

Graphixia interviews at Comics Forum 2013 from Digital Cultures Lab on Vimeo.

 

The Comics Arts Conference and Public Humanities by Kathleen McClancy

Comics studies has come a long way in the past few years. Scholarship centered on sequential art is no longer considered beyond the pale of the academy; academic conferences and journals focusing on comics studies are multiplying; more and more books are being published that take a scholarly approach to the medium. The Comics Arts Conference, one of the first academic conferences dedicated to the study of sequential art, has been instrumental in encouraging this recognition within the academy. By providing a home for comics scholarship, the CAC not only created a forum where individuals scholars could connect to become a larger field, it also helped to grow the profile of comics studies on the academic stage. Today, being a self-described Batman scholar is no longer cause for derision. Or at least, not from fellow academics.

Unfortunately, the legitimacy comics studies has gained inside academia does not seem to be replicated outside it. An obvious recent case-in-point would be Alan Moore’s treatment of Will Brooker in what may or may not be his last interview. Not only does Moore not name the mysterious “Batman scholar” who has questioned the representations of race and gender in his comics, he dismisses those concerns as essentially the whining of an emotionally stunted idiot who can’t understand anything without a caption box. He goes on to imply that comics scholarship as a whole displays a lack of rigor at best and is a waste of time at worst. Of course, Moore’s public persona is famously a curmudgeonly old fart, and Moore could certainly be exaggerating for emphasis here, but I don’t want to dismiss his reaction as extraordinary; instead, it seems to me that Moore’s belittlement of the highly regarded Brooker is emblematic of a larger trend in the public at large to consider scholarship on sequential art dubious and even ridiculous.

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Posted by on 2014/02/22 in Guest Writers

 

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Maus in the Indonesian Classroom by Philip Smith

As regular readers of Comics Forum are aware, the site recently featured a Themed Month which sought to examine comics as cultural production. The issue looked first at the work of comic book authors (Woo 2013) and ended with an autobiographical account of one scholar’s experiment as a comic book retailer (Miller 2013). In the following article I hope to continue to chart the life of a comic book by examining one particular comic after sales as it is read not by academics, but by a much larger demographic of comic book consumers: teenagers, specifically, Indonesian teenagers.

There has been a debate concerning the role of comics in language acquisition and literacy which can be traced back to the 1950s when Frederic Wertham, among others, argued that comics cause retardation of reading ability (Wertham, 1954). Many modern scholars argue that comics serve as a gateway to literacy (see, for example, the Canadian Council for Learning website, 2013).[1] This article will document my experience and observations as a teacher who uses Art Spiegelman’s Maus in the Indonesian classroom with advanced English-learners. I will describe how I prepared the students to read Maus, the concepts and history which I taught alongside the text, and what the students themselves brought to, and drew from the work.

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Posted by on 2014/02/18 in educators, Guest Writers

 

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Tintin at 85: A Conference Review by Paddy Johnston

Tintin at 85 was a one-day symposium at UCL, scheduled for the 85th anniversary of Tintin’s first appearance in Le Petit Vingtième. Organisers Tyler Shores and Tom Ue had been working on a forthcoming academic book on Tintin for a year before the conference, pursuing a personal interest in Tintin, before being inspired to put together a conference after meeting with Moulinsart, the Hergé foundation. This meeting inspired Tyler and Tom to organise a conference which would interest scholars from various disciplines, fans of the Tintin series and the growing number of Tintinologists. In its bringing together of these communities, the symposium was the first of its kind in Anglophone scholarship. With the broad aim of examining and celebrating Tintin’s cultural legacy, the conference attracted a number of international scholars and, most notably, Tintinologist Michael Farr. Farr has written numerous books on Tintin, many of which are in-depth studies of the characters, and he has translated works from Francophone scholarship into English, including those of comics scholar Benoît Peeters.

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