13-14 November 2025, Leeds Art Gallery and Central Library (UK)
When David Kunzle asserted in his 1973 magnum opus The Early Comic Strip, that it was by definition ‘a mass medium,’ he pointed to comics’ industrial and mechanical foundations, arguing that: ‘The comic strip is, and can only be, the product of the printing press’ (3). Although experimental comics challenge the idea that mechanical reproduction is a defining characteristic of comics, and the notion of the comic book industry as a coherent entity has been questioned, it is undeniable that comics have been greatly influenced by the industrial contexts in which they are created and circulate. These contexts include the companies that are well known for creating comics, such as publishers and retailers, but also less publicly visible but vitally important industries: printers, distributers, marketers, translators and more. Technology platforms and other media industries that connect to comics through branding, cross-promotion and trans- or multimedia forms also play important roles.
Comics Forum 2025 will explore the theme of industry, broadly conceived, in relation to any form of comics (i.e. including bande dessinée, manga etc.). Proposals are welcome from academics, and from industry participants (in any role). Topics may include:
Historical and/or geographical comics industries
The economics of comics and related industries
Models for studying comics as industrial forms
Anti- or non-industrial comics production
Digitisation as an industrial shift
Representations of industries in comics narratives
Agency, authorship and alienation within industrial contexts
Industrial relations, labour movements, precarity, collectivisation
Disruption in comics’ industrial contexts
The ethics of comics’ industrial practices
Comics as part of a broader media ecosystem
Future(s) for comics as industrially produced mass media
Challenges facing comics industries in the 2020s and 30s
We recognise that artificial intelligence (AI) is a key point of concern across a range of fields, and proposals on this topic are welcome, but we encourage applicants to think broadly about technology and manufacturing.
Submissions will be considered in any of the following three formats:
Paper: 20-minute paper on a focused topic
Panel: 1-hour structured discussion between three or more participants
Proposals of up to 250 words in length are now being accepted at this link: SUBMIT NOW. The deadline for submissions is the 31st of August and you will be notified of acceptance by or before the 12th of September. Please include a short (100 word) biography of your speaker(s) with your proposal. We look forward to welcoming you to Leeds!
Prof. Ivan Pintor Iranzo’s lecture defined comics as a way of approaching images, juxtaposing and arranging them. At the same time, they express concepts and material forms. He then attempted to disentangle the complex, multiform nature of the medium.
Turning an Entre-deux Situation into a Third Position – Part 3/3[1]
by Jean-Matthieu Méon
Woodcut novels form a genre of graphic narratives that emerged in Europe at the end of the 1910s with the works of the Belgian Frans Masereel. It was later explored and expanded by several European and Northern American artists, among whom the American Lynd Ward was one of the most influential (Beronä). If the genre waned in the 1950s, its influence has been claimed by diverse artists, especially in the comics field. In recent years, key works of the genre were reprinted in France and they are considered important elements of comics’ heritage. The three parts of this article analyse this current comics valorisation of decades-old woodcut novels. The theoretical model of patrimonialisation (Davallon) helps to shed light on this process, which relies on a specific relationship with the past, made of both rediscovery and reinvention (part I). The editorial paratext of the current reprints plays here a central role. It’s a means to equate “woodcut novels” and “graphic novels” and to bring together distinct fields of artistic creations (part II). The symbolic stakes of this patrimonialising process are important: for comics and for their publishers, it’s part of a quest for legitimacy and for an artistic autonomy that Masereel and Ward could embody (part III).
The terminological instability in designing Masereel’s and Ward’s books in their current paratext—and the ambivalences it produces— [see part II] can be interpreted in two ways. On the one hand, this instability reflects the processual nature of this patrimonialisation, consisting in the collective production of an equivalence between woodcut books, and graphic novels and comics. The equivalence is initiated by the publishers, reinforced by its critical reception and then re-appropriated by the publishers. On the other hand, the instability also reflects the symbolic tensions that the editorial paratext tries to manage and to overcome. According to these paratextual indications, the woodcut books are to be seen as comics without being comics, as graphic novels without being ordinary graphic novels, as “wordless novels” but not only, as past works but “modern” and, as such, still relevant. What is at stake here is distinction—within or without the comics field.
Among the 1954 Comics Magazine Association of America’s Comic Code’s many regulations was a directive to company admen: “Liquor and tobacco advertising is not acceptable” (Nyberg 168). The ubiquity of alcohol in mainstream media certainly concerned social guardians in post-war America (Rotskoff). However, liquor manufacturers did not solicit to minors in the comics, but another demographic group: their parents.
The first part of my article looked at how Lev Gleason Publications responded to the public alarm over comic books. Gleason and his chief editor, Charles Biro, pushed comics as a progressive medium with educational and artistic merit. This second part explores their second strategy: courting adults. Gleason hoped that an expanded readership would bolster support and offset rising production costs. However, critics rejected comic books’ potential beyond that of disposable children’s entertainment. The Comics Code sanitised comic books and stigmatised readers beyond middle-school age.
On 13 March 2020 the University of Leicester hosted an International Symposium titled “Tradition and Innovation in Franco-Belgian bande dessinée” organised in collaboration with Wallonia-Brussels International. This one-day symposium – for which the progamme can be found here – was organised with generous support from the ASMCF, the Society for French Studies and the School of Arts at the University of Leicester.
The day was opened by Simon Lambert as Academic and Cultural Liaison Officer for Wallonia-Brussels in the UK, in conjunction with Fransiska Louwagie (University of Leicester). Keynote speakers were Professor Laurence Grove from the University of Glasgow and graphic novelist Michel Kichka, who also delivered a public seminar on his work. Across three panels, the day focussed on various forms of tradition and innovation in Franco-Belgian bande dessinée: the first panel was dedicated to “Revisiting the classics”, the second panel to “Contemporary perspectives”, and the final ASMCF panel to “Reshaping Franco-Belgian bande dessinée”. The closing remarks were organised as a roundtable session on collaborative international research projects.
Comics Forum 