Random notes from the 2017 ComFor conference
Posted: December 15, 2017 Filed under: review | Tags: Bonn, ComFor, comics, conference, popular culture Leave a commentRegular readers of this weblog might have wondered why, after 2012, 2013, 2014 and 2015, there was no blogpost on the 2016 ComFor (German Society for Comics Studies) conference. There is a simple reason for that: I hadn’t attended last year’s conference. Two weeks ago, however, I took the trip to Bonn where this year’s conference (topic: “Comics and their Popularity”) took place. Please note that the following notes are not intended to adequately summarise the respective conference paper; instead they’re rather subjective and random – hence the title of this blogpost.
The conference started on Friday, December 1 with the “Open Workshops”, i.e. papers outside of the conference theme of “Comics and their Popularity”.
- The first presentation was by Zita Hüsing (Bonn) on “Being and Nature: The Significance of the Southern Space of the Swamp in Alan Moore’s The Saga of the Swamp Thing” in which she put forward connections between tropes of the American South and Swamp Thing, e.g. that both are hard to kill – no matter how badly they are maimed or burned down, they always come back from the dead. As was remarked in the discussion afterwards, however, it’s interesting how writers after Moore, such as Jeff Lemire, have expanded Swamp Thing’s backstory into a cosmology that shifts the focus from the local to the global.
- In the second paper, “Batwing, Batflügel oder Flügel-Bat. Die onimischen Einheiten im Comic” (“onimic units in comics” – all translations mine), Rafał Jakiel (Wrocław) looked at the names (poetonyms) of characters in superhero comics and identified characteristics such as their straightforward iconicity: for instance, Killer Croc is simply a murderous man who looks like a crocodile.
- Daniela Kaufmann (Graz) then presented “A Study in Black and White. Zur Signifikanz der Farben Schwarz und Weiß im Comic” (“on the significance of the colours black and white in comics”). Starting from Kazimir Malevich’s Black Square – featured e.g. in Nicolas Mahler’s comic Lulu und das Schwarze Quadrat – she proceeded to Krazy Kat and the racial ambiguity of both its creator George Herriman and its eponymous protagonist.
- This was followed by Elisabeth Krieber‘s (Salzburg) paper on “Subversive Female Performances in Visual Media – Phoebe Gloeckner’s and Alison Bechdel’s Graphic Narratives” which also considered the musical adaptation of Fun Home and the film adaptation of Diary of a Teenage Girl.
Unfortunately I missed the next two talks by Karoline M. Pohl and Sakshi Wason, respectively, who closed the “Open Workshops” section after which the papers on the “Popularity” theme began.
- The next presentation I attended was by Véronique Sina (Cologne / Tübingen) on “Comickeit is Jüdischkeit. Über das diskursive Zusammenspiel von Comic, Populärkultur und jüdischer Identität” (“on the discursive interplay of comics, popular culture, and Jewish identity”). Her main examples were the comics of Aline Kominsky-Crumb and Harvey Pekar, and she also discussed Jonas Engelmann’s hypothesis of popular culture as the dissolution of identity.
- Pnina Rosenberg (Haifa) talked about “Mickey au camp de Gurs: Political criticism and auto censorship in comics done during the Holocaust”, in which she presented three picture books made by Hans Rosenthal during his internment at a concentration camp in 1942.
- The first keynote of the conference was given by Julia Round (Bournemouth), titled “Canon or Common? Sandman, Aesthetics, Intertextuality and Literariness”. She discussed the ongoing struggle about the status of comics in general and Sandman in particular as literature (also: high vs. low art, “graphic novels” vs. comic books), how this is affected by the Romantic author notion around Neil Gaiman (“Mr Gaiman is the Sandman” – Clive Barker), and how this discourse comes to the fore in fan discussions at neilgaimanboard.com.
Saturday, December 2:
- In his talk on “Batmans queere Popularität. Ein comicwissenschaftlicher und kulturhistorischer Annäherungsversuch” (“Batman’s queer popularity. An approach from the perspective of comics studies and cultural history”), Daniel Stein (Siegen) discussed how Batman is appropriated as gay by some readers, while others are gripped by ‘queer anxiety’, i.e. the fear that their beloved character might officially become gay.
- Laura Antola‘s (Turku) paper “Marvel’s Comics in Finland: Translation, ‘Mail-Man’ and the popularity of superheroes” portrayed the eccentric figure of ‘Mail-Man’, a real-life translator and editor who also answered fan mail in the letter pages of Finnish Marvel comics from 1980 onward.
- “Das Popula(e)re und das Signifikante. Der Comic als Antwort auf die Krise liberaler Erzählungen?” (“The popular and the significant. Comics as an answer to the crisis of liberal narratives?”) by Mario Zehe (Leipzig) discussed Economix by Goodwin/Burr, Le Singe de Hartlepool by Lupano/Moreau, and Lucky Luke: La Terre promise by Jul/Achdé as examples of comics that show the limits of cosmopolitanism.
- Stephan Packard (Cologne) talked about “President Lex Luthor, Wakanda und der osteuropäische Schwarzwald. Zur populären Ideologie der Fiktionalität in Comics” (“President Lex Luthor, Wakanda and the Eastern European Black Forest. On the popular ideology of fictionality in comics”) and the sometimes problematic connection between fictional things and their real-world counterparts. A striking example is the recent “Alien Nation” story from Captain Marvel vol. 1 (2017) which is partly set in the “Black Forest”, albeit a Black Forest that doesn’t look anything like the real one in South Western Germany and is located, according to a caption, in “Eastern Europe”. Packard unfolded a compact theoretical framework which included the categories of fiction theory discussed by Marie-Laure Ryan such as the ‘principle of minimal departure’, but also Theodor Adorno’s ‘categorical imperative of the culture industry’, among others.
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The next paper was David Turgay‘s (Landau) highly interesting “Das Alternative im Populären: Eine korpusgestützte Analyse von Mainstream-Comics” (“the alternative in the popular: a corpus-based analysis of mainstream comics”) in which he examined the panels of 150 American comic books from 1996 and from 2016 with regard to six criteria: politics / social criticism, narrative peculiarities, artistic peculiarities, metafictional elements, absence of fighting, and absence of text. The results of the analysis showed a significant increase of these criteria over time, but overall these characteristics (which David Turgay interpreted as the influence of independent comics) still occurred less often in 2016 than expected.
- In his presentation on “Der Fluch der Graphic Novel aus (hochschul)didaktischer Sicht” (“the curse of the graphic novel from the perspective of (tertiary) education”), Markus Oppolzer (Salzburg) discussed the dreaded g-word again, but he also mentioned Conan the Librarian from the film UHF – as a librarian myself, I can’t believe I had never heard of him before!
- Dietrich Grünewald (Reiskirchen) talked about “Grenzgänger. Comics und Bildende Kunst” (“border crossers. Comics and fine art”) and how fine art such as paintings are used in comics, e.g. as background details in Volker Reiche’s Strizz.
- Christian A. Bachmann‘s (Bochum) contribution was probably the one with the longest title: “Slippers and music are very different things, oder: von high key to low key. Zur Darstellung populärer Musik in Bildergeschichten des 19. und Comics des frühen 20. Jahrhunderts” (“from high key to low key. On the depiction of popular music in picture stories of the 19th and comics of the early 20th century”). Among his examples were Billy DeBeck’s Barney Google and Richard F. Outcault’s Buster Brown.
- Kirsten von Hagen (Gießen) presented a paper on “Tintin und die Recherche: Von der ‘ligne claire’ Hergés zu den synästhetischen Traumsequenzen bei Heuet” (“Tintin and the recherche: from Hergé’s ‘ligne claire’ to Heuet’s synesthetic dream sequences”). Stéphane Heuet adapted Marcel Proust’s In Search of Lost Time as a series of comic volumes using a ligne claire style.
- Martin Lund (Växjo / New York) gave the second keynote on “Jack T. Chick, a Popular Propagandist”. With over 260 ‘Chick tracts’ since 1961 of which an estimated 900 million copies have been distributed, Chick might have been “the most widely distributed comics creator in the world” (Darby Orcutt 2010 – but see also https://en.wikipedia.org/wiki/List_of_best-selling_comic_series). Chick’s comics are a wellspring of knowledge on topics such as evolution, abortion and climate change; for instance, did you know that “global warming experts pray to Ixchel“, the Mayan “goddess of the moon and creativity”? But seriously: according to Martin Lund, the Chick tracts were never intended to convert unbelievers to Chick’s twisted beliefs, but rather to reassure those people who already were on his side.
Sunday, December 3:
- Michael Wetzel‘s (Bonn) paper was titled “‘Graphic Auteurism‘: Von Kreativität und Copyright im Comic” (“On creativity and copyright in comics”). An interesting hypothesis was that the popular concept of a ‘Romanticist notion of authorship’ is flawed because Romanticist authors such as E. T. A. Hoffmann actually deconstructed authorship.
- Next was Joachim Trinkwitz (Bonn), one of the two conference organisers together with Rolf Lohse, on “Auteur-Serien im Comic” (“auteur series in comics”) and their different forms as magazine serialisations and collected editions, using the examples of V for Vendetta, Black Hole, and Jimmy Corrigan.
- Lukas R. A. Wilde (Tübingen) then gave the only paper of this conference that was (at least partially) about manga. Titled “Public Domain Superheroes, Jenny Everywhere und dōjinshi. Die Comic- und Manga-Figur als meta-narrativer Knotenpunkt der Partizipationskultur” (“The comic and manga character as meta-narrative node of participatory culture”), it presented the niji sōsaku / sanji sōsaku cycle (dōjinshi based on official franchises, dōjinshi based on dōjinshi, …), ‘Second Order Originals’ (detextualised characters such as Sherlock Holmes), the concept of Open Source characters (e.g. Jenny Everywhere), the kyara-kyarakutā distinction, and a new “participatory kyara” from the political far-right in Germany named AfD-chan.
- The last talk of this year’s conference was given by Jörn Ahrens (Gießen) on “Der Comic ist das Populäre. Zur populärkulturellen Gestalt eines Mediums der Massenkultur” (“The comic is the popular. On the popular cultural shape of a mass culture medium”) which examined the reception of 100 Bullets in a review of The Comics Journal and the problematic implicit notion therein of what ‘quality’ comics should be.
In comparison to previous ComFor conferences I attended, I had the impression there were more papers on superhero comics, but there were definitely even less on manga. Then again, I guess the organisers simply didn’t receive more submissions on manga, so it’s up to all manga researchers to do something about this skewed manga/non-manga ratio next year. Another point about the programming that’s always somewhat problematic is the integration of conference papers in English: this year there were 7 out of 24 papers given in English which were distributed among Friday and Saturday, so it must have been unattractive for non-German speakers to attend the conference. It will be interesting to see if the ComFor conferences can improve in the areas of both comics internationalisation and attendee internationalisation in the years to come.
Manga talks at the 2015 ComFor conference
Posted: September 11, 2015 Filed under: review | Tags: Christian Chappelow, ComFor, comics, conference, history, Lukas Sarvari, manga, Marco Pellitteri, Rik Spanjers, Shigeru Mizuki, World War II 2 CommentsA surprisingly large number of papers on manga were presented at this year’s conference of the German Society for Comics Studies, which was held in Frankfurt last weekend. Unfortunately I couldn’t hear all of them (among the ones I’ve missed were Sven Günther’s paper on Thermae Romae and Sylvia Kesper-Biermann’s on Barefoot Gen), but here are brief summaries of the ones I did attend:
- Rik Spanjers spoke about Shigeru Mizuki’s Onward Towards Our Noble Deaths. In this classic manga set in the Pacific War (as well as in his other manga), Mizuki employs a distinctive art style in which cartoonish characters clash with photorealistic backgrounds. Spanjers explains this art style with Mizuki’s attempt to adequately represent the horrors of war. For instance, the opposition between these two distinct art styles mirrors the opposition between life and death in the story, etc.
- Marco Pellitteri presented results from a survey on the arrival and impact of manga in several European countries. He attributes the success of manga in Europe mainly to two circumstances: the adoption of the ‘authentic’ tankobon format for translated editions, and the simultaneous broadcasting of anime series on European television channels.
(Naturally, there is some overlap with my own PhD research, but also one major difference: when one tries to identify similarities and differences between so many different comic markets and within such a long time frame – 1970s to today –, the perspective is necessarily much wider, and the results coarser. Which doesn’t make it less valid, of course.) - Lukas Sarvari introduced three manga drawn by Kazuo Kamimura: Shinanogawa (1973-74, written by Hideo Okazaki), Furious Love (Kyōjin kankei, 1973-74, written by Kamimura himself), and Lady Snowblood (Shurayuki-hime, 1972-73, written by Kazuo Koike). Each of them is set in a different period of Japanese history: Shōwa (1926-89), Edo/Tokugawa (1603-1868) and Meiji (1868-1912), respectively. However, Sarvari’s hypothesis is that these manga tell us more about the time in which they were made than about the time in which their stories are set. Thus they convey views about the nihonjinron discourse, Japanese exceptionalism, and fascism that readers today might feel uneasy about.
- Christian Chappelow identified similar elements in two manga about Adolf Hitler: Hitler (Gekiga Hittorā, 1971) by Shigeru Mizuki and Adolf (Adorufu ni tsugu, 1983-85) by Osamu Tezuka. Both manga can’t really be regarded as anti-war stories and lack a critical stance against nationalism, militarism and fascism. Chappelow suspects that this is the reason why Mizuki’s Hitler hasn’t been translated into a European language yet.
ComFor 2014: Färber, Ingold, Owens
Posted: October 15, 2014 Filed under: review | Tags: ComFor, comics, conference, Craig Owens, German, Julia Ingold, Markus Färber, postmodernism, Reprobus 1 CommentLast month, the 9th annual conference of the German Society for Comics Studies (ComFor) took place in Berlin. Unfortunately I missed half of it, so instead of a proper conference report (not that my previous ComFor conference posts – 2012, 2013 – were proper reports), I thought I’d just point out my favourite talk out of the ones I have heard:
Julia Ingold (Kiel University) presented an allegorical reading of Markus Färber‘s comic Reprobus. Reprobus seems to be Färber’s first standalone comic, and was published only two years ago. In this comic, Färber re-tells the legend of Saint Christopher (who was called Reprobus before he met Jesus), albeit with some twists. Reprobus is a beautifully drawn comic, and its non-linear story is cleverly written. But that’s beside the point.
In her talk, Julia Ingold referenced Craig Owens’s text “The Allegorical Impulse” (which I have discussed on this weblog last year), and placed Reprobus in a postmodern context. That latter statement was more of an incidental remark, if I remember correctly, as her main point was the reading of Reprobus as allegory through Owens. Therefore I won’t hold it against her that she didn’t take the time to expand on what’s postmodern(ist) about Reprobus.
It’s easy enough to recognise Reprobus in “The Allegorical Impulse”, or vice versa: Reprobus is a typical example of a “palimpsest”, of “reading one text through another”, of the artistic strategy of “appropriation”, in that Reprobus “confiscates” the legend of Saint Christopher (all quotations from Owens). The problematic point is that for Owens, this allegorical impulse is already the characteristic that distinguishes postmodernist from modernist art. Nowadays, as I have tried to show in the aforementioned blog post on Owens, Foster and Ishinomori, Owens’s view of postmodernism is only one of many.
Hal Foster, on the other hand, emphasises (in “Postmodernism: A Preface”) the challenging stance of postmodernism towards the social context of objects.* I find it hard to see such a thrust in Reprobus. The “realm of myths and legends” is “sinking into oblivion”? The people in the big city “have almost forgotten” about Jesus? If this story was really intended as a critique of contemporary society, it’s about 100 years late. This comic combines rather old-fashioned aspects with some undeniably timely traits – which isn’t a bad thing, but makes me reluctant to classify it as entirely postmodernist.
The papers of the ComFor conference aren’t published yet, but an earlier article by Julia Ingold on Reprobus can be read in the latest issue of the journal helden. heroes. héros. (PDF, German).
Some keywords from the 2013 ComFor conference
Posted: November 27, 2013 Filed under: review | Tags: ComFor, comics, conference, Erlangen, firearms, German, Gottfried Boehm, Lars Elleström, manga, media, science, science fiction, superheroes, Watchmen 2 CommentsIn comparison to last year, the 8th ComFor conference (full title: „Comics und Naturwissenschaften“ – 8. Wissenschaftstagung der Gesellschaft für Comicforschung), which took place in Erlangen this month, was less international with only one out of 22 talks in English. On the other hand, there were two papers on manga – a small step in the right direction.
Here are some terms that I’ve heard at this conference for the first time and found noteworthy, in alphabetical order, with the paper in which they were mentioned added in brackets.
- apocalyptic riskscape – a place where impending doom is tangible, e.g. New York City in Watchmen. (Mentioned in Laura Oehme: Alien Science and Risk Technologies in Dystopian Science Fiction Comics)
- “basic”, “qualified” and “technical” media – categorisation of aspects of mediality by Lars Elleström, described in his text “The Modalities of Media: A Model for Understanding Intermedial Relations” in 2010. (Lukas Wilde / Kay Kirchmann et al.: Wenn Comics Medien erklären – Google-Werbung vom Paul McCartney der Comictheorie)
- euchronia – the “good time”; a golden age, usually bygone. (Markus Oppolzer: Utopie und Dystopie im Werk von Shaun Tan)
- jadarite – a mineral discovered in 2007. Its chemical formula is similar to the fictional formula of kryptonite as shown in the film Superman Returns, prompting headlines such as “Superman beware, kryptonite is real”. (Markus Prechtl: Chemie & Comic – Grenzgänge und Herausforderungen)
- MAC-10 – a machine pistol, or submachine gun, designed by Gordon Ingram for the Military Armament Corporation (MAC). Its unrealistic use in popular media is criticised by cartoonist Marion Montaigne. (Rolf Lohse: Die Naturwissenschaften im Blick der französischen bande dessinée)
- mechanomorphism – here: turning something into a machine, e.g. turning a human into a robot by means of cybernetic implants. (Markus Oppolzer: Utopie und Dystopie im Werk von Shaun Tan)
- “strong” and “weak” images – distinction made by Gottfried Boehm between images that are merely mechanical reproductions (weak) and ambiguous images that require some interpretative effort (strong). (Jens Meinrenken: Comics als Archiv historischer Wissen(schafts)formationen und -entwürfe)
- Titor, John – name used by an internet forum user claiming to be a time traveller from the future. Appears as a fictional character in the video game Steins;Gate. (Kristin Eckstein: „Beyond the 1% barrier“: Die Zeitreise und ihre Funktion in Sarashi Yomis Steins;Gate)
Not a conference report: some notes on ComFor 2012
Posted: October 4, 2012 Filed under: review | Tags: ComFor, comics, conference, Danish, Dietrich Grünewald, French, Fritz Haarmann, German, Hartmut Nonnenmacher, Jacques Callot, Kim (Joaquim Aubert Puigarnau), Kim Schmidt, Louise C. Larsen, Martin Frenzel, Peer Meter, Peter Kürten, Rasmus Klump, Rikke Platz Cortsen, Spanish 3 CommentsThese are just some things that I looked up after the annual conference of the German Society for Comics Studies had ended last Sunday:
- In his opening speech, Dietrich Grünewald mentioned Jacques Callot’s series of etchings, Les Misères de la Guerre, as an early example of a political picture story. I wondered if this series is available digitally in its entirety somewhere on the web. This doesn’t seem to be the case: all 18 prints can be found, but not in one place. The most complete sites I could find are an article by Katie Hornstein (plates no. 2-6, 8, 10-11, 15-18), and a website of the Université de Liège (4, 6-7, 9, 12-13, 17). The remaining plates (1/title page and 14) can be found at Wikimedia Commons.
- Louise C. Larsen mentioned Peter Kürten in her talk, a German serial killer in the 1920s and 30s. His English and German Wikipedia entries are quite detailed. Kürten’s case is quite similar to that of Fritz Haarmann, which has already been adapted into a comic by Peer Meter (German homepage: http://peermeter.de/ – see also Juliane Blank’s talk at last year’s ComFor conference): both committed their crimes at around the same time, both were called “vampire” (“vampire of Düsseldorf” and “vampire (or werewolf) of Hanover”, respectively), and the brains of both were examined and preserved by scientists after their execution.
- In Rikke Platz Cortsen‘s presentation on Rasmus Klump (a.k.a. Petzi), I saw the original Danish strips for the first time, and realized that the German translations are drastically shortened. Furthermore, the German translations vary from edition to edition: the German website http://www.petzi-forschung.de offers an interesting overview of all the German editions.
- Was Martin Frenzel‘s presentation the longest ever (338 slides)? Not even close. The longest I found on slideshare has 919 slides, and there’s a YouTube video consisting of 1604 slides (although I doubt that these were really shown in a talk).
- Hartmut Nonnenmacher mentioned a Spanish comic creator called Kim. Could this be the same Kim who was the artist on the German comic Kleiner Thor? No, they are two different people: the Spanish Kim’s real name is Joaquim Aubert Puigarnau (cf. his Spanish Wikipedia entry), whereas the other Kim is from Germany and called Kim Schmidt (German Wikipedia).