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Tag Archives: Germany

The Trimonthly ComFor Update for January 2020

by Robin-M. Aust

There is an old, often used Lovecraftian saying: “That is not dead which can eternal lie, and with strange aeons even death may die”. Well, the ComFor Update is certainly neither dead nor has the ComFor been caught up in eternal slumber. Instead, the past few months have been busy and eventful, both for the Gesellschaft für Comicforschung as well as for German comics scholarship in general: the fall semester has started at German universities and the summer break has been filled to the brim with conferences and workshops, proceedings are to be written and read, research groups have been founded, announcements are to be made. That’s why a little bit more time than usual has passed since Lukas’s last update and why we decided to switch things up a bit: instead of a bi-monthly rhythm, we will adopt a trimonthly schedule from now on—which also gives us the opportunity to present you with an even more information-packed column.

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Posted by on 2020/01/04 in ComFor Updates

 

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The Bi-Monthly ComFor Update for May 2019

By Lukas R. A. Wilde

It is my pleasure to fill you in on what happened since Natalie’s last update in March on comics scholarship in the German-speaking corners of the world. The summer term started around the middle of April in German universities and, as usual, ComFor’s editorial staff compiled a list of comics related classes and lectures from disciplines as varied as Literature (English, German and French), Media Studies, History, Art Teaching and even Geography. Spring break or not, our motivated team (that Laura Oehme and I have had the honor to hand over some months back) has in general been very busy, as you can see from our new website section dedicated to international comic scholarship journals. Take a look at their second installment introducing new issues and articles of the International Journal of Comic Art, Studies in Comics, the Journal of Graphic Novels and Comics, ImageTexT and The Comics Grid in a clear arrangement. As usual, you can also find short introductions of new monographs and edited collections on comics within the regular Monitor section. Most of these books are released by international publishing houses and in English, so send a short note to redaktion@comicgesellschaft.de if you know of a publication that should be included in future installments. One notable German-language publication has been released during the last months: Überzeichnete Spektakel: Inszenierungen von Gewalt im Comic [Exaggerated Spectacle: The Staging of Violence in Comics] by ComFor member Jörn Ahrens. The author investigates the many forms, strategies and functions of ‘graphic violence’ from a formal, media-specific perspective, with case studies ranging from classics as Sin City or the works of Joe Sacco, to more contemporary series such as 100 Bullets or DMZ. The monograph’s release was accompanied by a roundtable discussion event on May 14 at the University of Gießen (with Frank Thomas Brinkmann, Ole Frahm and Kirsten von Hagen) on the relationship between comic aesthetics and violence.

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Posted by on 2019/05/27 in ComFor Updates

 

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CFP: Translation, Localisation, Imitation, and Adaptation: Comparative Aspects in Comics Studies

The 14th Annual Conference of the Society for Comics Studies (ComFor) is dedicated to the idea of comparative comics studies: relations and transformations within the art form that cross and bridge cultural, lingual, economic, juridical, political, and media divisions. These include referential and derivative formats such as citation, parody, pastiche, travesty, imitation, and emulation of genres, characters, and motifs, in which one comic recalls another comic, or any other medium. In all of these cases, a relation is established that connects one or more comics to others. But the scope of comparative comics studies also includes translations, transfers, adaptations, and many other kinds of metamorphosis. These take place not merely from one language to another, but also take into account changes in audience orientation, in technical and economic conditions, in legal and conventional rules, and any other co-determining circumstance that leaves its traces: on the new comic’s text, sometimes on its pictures as well, and always on the mechanisms of production, marketing, media practices, and interpretations to which comics are subjected.

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Posted by on 2019/04/15 in General

 

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The Bi-Monthly ComFor Update for March 2019

By Natalie Veith

In March, German universities are on term break, but it is rapidly coming to a close, so we are all busy getting ready for the summer semester that starts in April, preparing for our research and teaching duties, compiling reading lists and shuffling around seminar schedules. But that is not the only thing keeping us busy these days. In the field of comics studies as well as in the general German-language comics scene, this month in particular has been eventful.

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Posted by on 2019/03/26 in ComFor Updates

 

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The Bi-Monthly ComFor Update for January 2019

by Julia Ingold

The first month of the new year always starts smoothly with a prolonged holiday period. German universities resume their daily activities only in the second week of January and so does ComFor’s editorial staff—as usual with our established retrospect about several ComFor members’ favorite comics of 2018. Shortly after Stephan Packard’s substantial bi-monthly update two months ago, ComFor’s editorial team posted a retrospect on the panel “Comics 4.0” that the Committee for Comics Studies contributed to the German Society for Media Studies’ (GfM) annual conference that took place in Siegen under the headline “Industry” in September 2018. ComFor Member Lukas R. A. Wilde gave a talk on “Von Remediation zum Intermedium: Formen, Formate und mediale Rahmungen digitaler Comics” (From Remediation to Indermedia: Forms, Formats and Medial Framings of Digital Comics). Tim Glaser shared his views on “Comics, Communities & Crowdfunding: Plattformen und deren Einfluss auf die Rezeption und Distribution von Webcomics” (Comics, Communities, and Crowdfunding: Platforms and their Influence on Reception and Distribution of Webcomics). Peter Vignold, for his part, presented on “From A(yn) to Z(ack): Objektivismus im zeitgenössischen Comicfilm” (From A(yn) to Z(ack): Objectivism in the Contemporary Film Adaptation of Comics). The first two presentations both took their cues from the concept of the infinite canvas that Scott McCloud introduced in his 2000 book Reinventing Comics. The panel expounded the question to what extent webcomics’ many new possibilities might collide with the fact that they still only receive widespread attention once they are transferred into traditional print media and thus lose aspects of their inherent mediality.

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Posted by on 2019/01/24 in ComFor Updates

 

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