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.
Read the rest of this entry »Posted by Annick Pellegrin on 2021/09/22 in Conference reports
Tags: Aby Warburg, Alain Badiou, Alessandro Tota, André Leroi-Gourhan, André Michaux, Anestesia, architecture, ARF!, Art Spiegelman, authorship, autobiography, Avant-Garde Comics, Bastien Vivès, Belgium, Caterina Sansone, Centre belge de la bande dessinée, Claudia Palescandolo, comic essays, Commissario Spada, content, David B., definitions, Diereck, digital comics, distribution, diversity, economic situation of comics creators, Edmond Baudoin, film, fluidity, format, François Schuiten, Francesca Ciregia, Frédéric Pajack, fumetti, Fumettibrutti, Gaston Bachelard, Gender, graphic memoirs, graphic novel, Gustave Doré, History, Igort, imagination, intermediality, Italy, Jan Baetens, Joann Sfar, Jordi Planellas, kinetic potential, Laura Marks, L’Ascension du haut mal, L’Histoire de la Sainte Russie, Lelio Bonaccorso, Martin Lemelman, Maus, MeFu, memory, Mendel’s Daughter, Mnemosyne, Moleste, Nathan Legendre, Nick Sousanis, Palacinche, Pascal Lefèvre, photographs, Polina, Quaderni Giapponesi, Rajewsky, readership, rhythm, Rodolphe Töpffer, Romanzo esplicito, seriality, silence, SnIF, Stefano “S3keno” Piccoli, Stephen E. Tabachnik, Storia della mia adolescenza trans, style, Summer Schools, The Skin of the Film, time, transmediality, Two Cents Plain, Uncertain Manifesto, Unflattening, William S. Burroughs, Zigeuner
‘Fluid Images – Fluid Text’ was the title of an interdisciplinary conference that took place at Cardiff University (Wales) on 23-24 January 2020. The conference, organised by Dr Tilmann Altenberg (School of Modern Languages) and Dr Lisa El Refaie (School of English, Communication and Philosophy), hosted eighteen speakers from twelve institutions spread across seven different countries, featuring a wide range of backgrounds and approaches. The conference received financial support from Institute of Modern Languages Research (London), University Council of Modern Languages, Cardiff Comics Storytelling Network, Cardiff School of Modern Languages and Cardiff School of English, Communication and Philosophy.
The aim was to investigate from a transdisciplinary perspective three different and interlinked dimensions underpinning comics’ mobility: time, space and artistic media. The chronological dimension covers a broad field including the relationships between comics and history and the transformations investing their editorial and reading practices. Translation is the key word to understand how comics have been able to transcend national borders, by means of transmission in different languages and cultures. The last dimension leads us to comics’ adaptation in other media, investigating their relationships with different forms of artistic expression.
Posted by Annick Pellegrin on 2020/05/11 in Conference reports
Tags: A Borrowed Life, A Distant Soil, adaptation, Aka B, Alessandro Tota, Alison Bechdel, Ana Penyas, art, Asterix, autobiography, Ángel de la Calle, Bea Enriquez, biography, Caterina Sansone, classroom, Colleen Doran, dictatorship, digital comics, Disney, Edgar Clement, family, film, Fumettibrutti, Fun Home, Gender, Graphic Novels, Greece, heritage, History, humour, identity, Il tempo materiale, intermediality, intertextuality, Italy, Je est un autre, Kobane Calling, Luigi Ricca, Martin Lemelman, memory, Mendel’s Daughter, Mexico, nationalism, Núria Tamarit, Non-fiction Comics, Operación Bolívar, P. La mia adolescenza trans, Palacinche, Paperinik, Phoebe Gloeckner, Photography, Pinturas de guerra, place, Politics, Race/ethnicity, social conflict, Spain, Storia di una madre, Taiwan, The Adventures of Tintin, The Diary of a Teenage Girl, The Story of a Mother, theatre, time, Tintin, Translations, transmediality, Transphobia, transsexual abuse, UK, Wales, Women, Zerocalcare
I. Who is Ishiko Junzō?[1]
Arguably, one of the first Japanese critics to discuss graphic narratives (story manga) for mature audiences is Ishiko Junzō (1928 – 1977).[2] Initially active as an art critic who explored a wide range of contemporaneous artistic and popular movements, he began to publish writings more specifically on manga between the mid-1960s and mid-1970s. To many English-language readers his name might be obscure, perhaps even more so than his contemporary, philosopher and cultural critic Tsurumi Shunsuke, whose book Sengo Nihon no taishū bunkashi (A Cultural History of Postwar Japan 1945-1980)—a chapter of which is devoted to postwar manga—is available in English. Yet, in present-day Japanese-language manga research, Ishiko is repeatedly referenced, especially in relation to his media-specific discussion of manga. This article shall introduce art critic Ishiko Junzō and his scholarship, concentrating on his contribution to Japanese comics criticism and manga studies.
Posted by Comics Forum on 2014/08/11 in Guest Writers, Manga Studies
Tags: adult readership, aesthetics, alternative comics, alternative manga, art, Artists, “anti-art” movements, censorship, Charles Hatfield, children readers, comics industry, Dick Higgins, digital media, Doryun Chong, dōjinshi, education, fandom, film, formalism, Garo, gekiga, Gondō Suzumu, graphic narratives, historiography, hyōgen-ron, intermediality, Ishiko Junzō, Japan, Japanese manga, jaqueline berndt, Kajii Jun, Kajiya Kenji, kashihon-ya, Kikuchi Asajirō, Magnificent 49ers, manga, manga criticism, Manga geijutsu-ron, manga studies, Manga to eiga, Mangashugi, mature readers, Miryam Sas, Miwa Kentarō, Mizuki Shigeru, MOMA, Negative Perceptions of Comics, Osamu Tezuka, psychology, Scott McCloud, seinen, Shirato Sanpei, shōjo, social class, structuralism, taishū bunka, Takano Shinzō, Tatsumi Yoshihiro, Tezuka, Tezuka Osamu, Tsuge Yoshiharu, Tsurumi Shunsuke, Uryū Yoshimitsu, USA, Walter Benjamin, Weekly Shōnen Magazine, Yamane Sadao
