You can now buy a reprint of the sold-out Spring 1999 first issue of IJoCA at Lulu.com. Lulu will print and ship the issue to you directly. The cost is $15 plus shipping.
Table of contents:
1. Editor's Note: Finally, an International Journal for Comic Art
2. Comics Criticism in the United States; A Brief Historical Survey
3. A Framework for Studying Comic Art
4. Comic Art in Scholarly Writing: A Citation Guide
5. The Marumaru Chinbun and the Origins of the Japanese Political Cartoon
6. Proving "Silas" an Artist: Winsor McCay's Formal Experiments in Comics and Animation
7. William Hogarth: Printing Techniques and Comics
8. Breaking Taboos: Sexuality in the Work of Will Eisner and the Early Wordless Novels
9. Comics in the Development of Africa
10. Featuring Stories by the World's Greatest Authors: Classics Illustrated and the "Middlebrow Problem" in the Postwar Era
11. Recovering Sensuality in Comic Theory
12. The Horrors of Cartooning in Slim's Algeria
13. Mr. Punch, Dangerous Savior Children's Comics in Brazil: From Chiquinho to Monica, A Difficult Journey
14. Brazilian Adult Comics: The Age of Market Postmodern Spatiality and the Narrative Structure of Comics
Wednesday, June 26, 2013
IJoCA vol. 1 # 1 reprint available now
You can now buy a reprint of the sold-out Spring 1999 first issue of IJoCA at Lulu.com. Lulu will print and ship the issue to you directly. The cost is $15 plus shipping.
Table of contents:
1. Editor's Note: Finally, an International Journal for Comic Art
2. Comics Criticism in the United States; A Brief Historical Survey
3. A Framework for Studying Comic Art
4. Comic Art in Scholarly Writing: A Citation Guide
5. The Marumaru Chinbun and the Origins of the Japanese Political Cartoon
6. Proving "Silas" an Artist: Winsor McCay's Formal Experiments in Comics and Animation
7. William Hogarth: Printing Techniques and Comics
8. Breaking Taboos: Sexuality in the Work of Will Eisner and the Early Wordless Novels
9. Comics in the Development of Africa
10. Featuring Stories by the World's Greatest Authors: Classics Illustrated and the "Middlebrow Problem" in the Postwar Era
11. Recovering Sensuality in Comic Theory
12. The Horrors of Cartooning in Slim's Algeria
13. Mr. Punch, Dangerous Savior Children's Comics in Brazil: From Chiquinho to Monica, A Difficult Journey
14. Brazilian Adult Comics: The Age of Market Postmodern Spatiality and the Narrative Structure of Comics
Friday, May 10, 2013
New IJOCA issue is out
The new, paper-only issue of the International Journal of Comic Art (15:1) is out although the website hasn't been updated with the table of contents yet.
Wednesday, January 30, 2013
The Art of Atila Ozer museum exhibit opening in Pittsburgh
The ToonSeum
945 Liberty Avenue
Pittsburgh, PA 15222
The Art of Atila Ozer will open February 11th with a reception featuring Deniz Cil on the 16th at 7pm. Cil is managing editor of the Journal of Conflict Resolution and the niece of Atila Ozer and will speak on behalf of the late Atila Ozer.
Ozer was a top international cartoonist who spent his life creating intriguing, meaningful cartoon art, while also educating others on the craft. Ozer's illustrations commented on world peace through the symbolic iconography of cartoons and depicted the medium's powerful language. His research, presentations, and articles emphasized cartoon art's place in international culture as a means of communication. As a member of the Turkish Cartoonists Association (FECO) since 1975, Ozer certainly helped put Turkey on the map as a force in the cartoon art community.
The exhibition which runs through April, is supported in part by The American Middle East Institute in collaboration with the Toonseum and Atila Ozer Cartoon House.
The American Middle East Institute is an independent, non-profit organization headquartered in Pittsburgh, Pennsylvania, that is focused on building business, educational and cultural ties between the United States and the countries of the Middle East. We believe these kinds of connections represent a powerful form of diplomacy and bridge-building.
The American Middle East Institute:
The Atila Ozer Cartoon House
Tuesday, January 29, 2013
Superheroes: Good and Evil in American Comics (2007) exhibit review
"ZAP! POW! BAM! The Superhero: The Golden Age of Comic Books, 1938-1950," the exhibit curated by the late Jerry Robinson has arrived at the Jewish Museum of Maryland in downtown Baltimore. I reviewed an earlier, smaller version of the show for IJOCA in 2007 (issue 9:1) which is reprinted below. The current exhibit includes some different pieces and some art mentioned here, such as Hasen's Dondi page aren't in the 2013 version, although a superhero page by Hasen is. - Mike Rhode
Superheroes: Good and Evil in American Comics. Jerry Robinson with Ali Gass. New York, NY: Jewish Museum, September 15, 2006-January 28, 2007.
As Art Spiegelman pointed out when withdrawing from Masters of American Comics, this exhibit was a smaller version of Robinson’s 2005 "ZAP! POW! BAM! The Superhero: The Golden Age of Comic Books, 1938-1950." What Spiegelman neglected to mention is that Robinson most likely was asked to step in and provide his exhibit to literally fill the space left by Spiegelman’s withdrawal. The curators attempted to recast it to better fit the venue of the Jewish Museum by noting the legacy of Jewish creators in superhero comic books. Quoting from the press release, “with these fictional heroes, comic book creators often reflected their own lives as immigrants– frequently Jewish immigrants from European countries. Keenly aware of their own sense of cultural marginalization, these artists struggled to define themselves in terms of mainstream American culture. By extension, they created characters whose identities largely reflected this aspect of the immigrant experience.” These argument is an old one – Jules Feiffer made it around forty years ago – but the exhibit struggled to make the point, although the text by Robinson and Gass was well done.
However, Superheroes was an enjoyable look at comic book art, and if taken on those terms, worked just fine. The original art by Fred Ray for the iconic Superman #14 cover showing Superman in front of an American shield as an eagle lands on his forearm remains stirring, although perhaps not as much so as it did in the first days of World War II. Many of Jerry Robinson’s golden age collaborators and friends at DC Comics (National Periodical Publications at the time) were represented including Mort Meskin, Joe Shuster, Simon & Kirby, Joe Kubert, as well as those who worked primarily for other companies like Mac Raboy, Alex Schomburg, and Lou Fine. Mort Meskin’s “Bombshell”, a hand-colored splash page from Boy Comics was especially fine and drew attention to the fact that more widespread notice should be taken of Golden Age artists. Other pieces of note were a model sheet for Captain America from 1941, probably by Joe Simon, Charles Biro’s cover of Daredevil Comics #6, an early Dondi page by Irwin Hasen – oddly out of place in a superheroes show, Alex Schomburg’s cover to Human Torch #16, and Mort Meskin’s concept page for the Vigilante. Of special historic interest were Bill Finger’s script from Batman #31, Robinson’s original Joker sketch, and a Siegel & Shuster profile of Superman inscribed to Robinson. Joe Siegel’s typewriter occupied some weird iconic space as it should; it was just a typewriter, but... In some ways, this exhibit seemed to be a selection of Jerry Robinson’s Collection’s Greatest Hits, and that was just fine -- educational and a lot of fun.
Superheroes: Good and Evil in American Comics. Jerry Robinson with Ali Gass. New York, NY: Jewish Museum, September 15, 2006-January 28, 2007.
As Art Spiegelman pointed out when withdrawing from Masters of American Comics, this exhibit was a smaller version of Robinson’s 2005 "ZAP! POW! BAM! The Superhero: The Golden Age of Comic Books, 1938-1950." What Spiegelman neglected to mention is that Robinson most likely was asked to step in and provide his exhibit to literally fill the space left by Spiegelman’s withdrawal. The curators attempted to recast it to better fit the venue of the Jewish Museum by noting the legacy of Jewish creators in superhero comic books. Quoting from the press release, “with these fictional heroes, comic book creators often reflected their own lives as immigrants– frequently Jewish immigrants from European countries. Keenly aware of their own sense of cultural marginalization, these artists struggled to define themselves in terms of mainstream American culture. By extension, they created characters whose identities largely reflected this aspect of the immigrant experience.” These argument is an old one – Jules Feiffer made it around forty years ago – but the exhibit struggled to make the point, although the text by Robinson and Gass was well done.
However, Superheroes was an enjoyable look at comic book art, and if taken on those terms, worked just fine. The original art by Fred Ray for the iconic Superman #14 cover showing Superman in front of an American shield as an eagle lands on his forearm remains stirring, although perhaps not as much so as it did in the first days of World War II. Many of Jerry Robinson’s golden age collaborators and friends at DC Comics (National Periodical Publications at the time) were represented including Mort Meskin, Joe Shuster, Simon & Kirby, Joe Kubert, as well as those who worked primarily for other companies like Mac Raboy, Alex Schomburg, and Lou Fine. Mort Meskin’s “Bombshell”, a hand-colored splash page from Boy Comics was especially fine and drew attention to the fact that more widespread notice should be taken of Golden Age artists. Other pieces of note were a model sheet for Captain America from 1941, probably by Joe Simon, Charles Biro’s cover of Daredevil Comics #6, an early Dondi page by Irwin Hasen – oddly out of place in a superheroes show, Alex Schomburg’s cover to Human Torch #16, and Mort Meskin’s concept page for the Vigilante. Of special historic interest were Bill Finger’s script from Batman #31, Robinson’s original Joker sketch, and a Siegel & Shuster profile of Superman inscribed to Robinson. Joe Siegel’s typewriter occupied some weird iconic space as it should; it was just a typewriter, but... In some ways, this exhibit seemed to be a selection of Jerry Robinson’s Collection’s Greatest Hits, and that was just fine -- educational and a lot of fun.
The Canadian Committee for World Press Freedom 13th International Editorial Cartoon Competition
The Canadian Committee for World Press Freedom 13th International Editorial Cartoon Competition
1.The theme for the 13th International Editorial Cartoon Competition is:
Hard times and free speech
When journalists and cartoonist face economic uncertainty or threats to their employment, there is great pressure to give up on tackling tough stories, give in to self-censorship or give attention to sensationalist journalism in the service of commercial sustainability. But can free speech survive hard times?
2. Prizes: three prizes will be given: a first prize of $1500 plus a certificate from the Canadian Commission for UNESCO, a second prize of $750 plus a certificate, and a third of $500 and certificate. All sums are in Canadian dollars. Ten additional cartoons will receive an 'Award of Excellence.' Regrettably no financial remuneration accompanies the Awards of Excellence.
3. Only one cartoon will be accepted from each cartoonist. It may be either in color or black and white and must not have won an award.
4. The size of the cartoon should not exceed A4; 21 by 29.2 cm; or 8.50 by 11 inches.
5. The name, address, telephone number and a short biography of the cartoonist must be included in the submission.
6. The Canadian Committee for World Press Freedom shall have the rights to use any of the cartoons entered in the Competition for promotion of our Editorial Cartoon Competition and World Press Freedom Day. Entrance by the cartoonist is deemed acceptance of this condition.
7. The winners of the Cartoon Competition will be announced at the World Press Freedom Day Luncheon held at the National Arts Centre in Ottawa, Canada on May 3, 2013 as well as being advised by e-mail. The winner's names and their cartoons will be posted on the CCWFP web site: http://www.ccwpf-cclpm.ca/
8. The winning cartoons will be exhibited at the luncheon.
The deadline for receipt of cartoons is 5 p.m. GMT, Friday, March 29, 2013.
Cartoons should be in jpeg format at 300 dpi
Thursday, January 17, 2013
ICAF Lent Scholarship Deadline - Feb. 1
REMINDER!
ICAF John A. Lent Scholarship in Comics Studies - Applications due February 1, 2013
http://www.internationalcomicartsforum.org
The International Comic Arts Forum is proud to hold each year the John A. Lent Scholarship in Comics Studies competition. The Lent Scholarship, named for pioneering teacher and researcher Dr. John Lent, is offered to encourage student research into comic art. ICAF awards the Lent Scholarship to a current student who has authored, or is in the process of authoring, a substantial research-based writing project about comics. (Preference is given to master's theses and doctoral dissertations, but all students of comics are encouraged to apply.)
The Scholarship is subject to the condition that the recipient present a half-hour talk, based on her or his research, during ICAF. The award consists of up to US $500 in kind to offset the cost of travel to and/or accommodations at the conference. A commemorative letter and plaque are also awarded. No cash is awarded.
Applicants must be students (or have been students since the last ICAF was held), or show acceptance into an academic program at the time of submission. For example, applicants for ICAF 2013 would have to prove their student status in calendar years 2012 or 2013, or provide evidence that they have been accepted into an academic program beginning in academic year 2013-2014.
The Scholarship competition is adjudicated by a three-person committee chosen from among the members of ICAF's Executive Committee. Applications should consist of the following written materials, sent electronically in PDF form:
- A self-contained excerpt from the project in question, not to exceed twenty (20) double-spaced pages of typescript.
- A brief cover letter, introducing the applicant and explaining the nature of the project.
- The applicant's professional resume.
A brief letter of reference, on school letterhead, from a teacher or academic advisor (preferably thesis director), establishing the applicant's student status and speaking to her/his qualifications as a researcher and presenter.
PLEASE NOTE that applications for the Lent Scholarship are handled entirely separately from ICAF's general Call for Proposals. Students who may have submitted abstracts to the general CFP are welcome to apply separately for the Lent Award.
The deadline for the next Lent Scholarship is February 1, 2013. Please send application materials via email to José Alaniz (jos23@u.washington.edu) of the ICAF Executive Committee. The next ICAF conference, run with our host institution the University of Oregon, is taking place at the White Stag Building in Portland, OR, May 23-25, 2013.
Follow us on Facebook! http://www.facebook.com/icafcomic
- posted by Qiana Whitted, ICAF Exec. Cmte
Wednesday, October 17, 2012
IJOCA 14-2 Table of Contents
We're currently having a technical issue copying the text out of InDesign, but here's scans of the Table of Contents of the current issue of the International Journal of Comic Art 14:2 (Fall 2012).
Sunday, September 16, 2012
ICAF John A. Lent Student Scholarship in Comic Studies
ICAF John A. Lent Scholarship in Comics Studies
Applications due February 1, 2013
http://www.internationalcomicartsforum.org/lent-scholarship.html
The International Comic Arts Forum is proud to hold each year the John A. Lent Scholarship in Comics Studies competition. The Lent Scholarship, named for pioneering teacher and researcher Dr. John Lent, is offered to encourage student research into comic art. ICAF awards the Lent Scholarship to a current student who has authored, or is in the process of authoring, a substantial research-based writing project about comics. (Preference is given to master's theses and doctoral dissertations, but all students of comics are encouraged to apply.)
The Scholarship is subject to the condition that the recipient present a half-hour talk, based on her or his research, during ICAF. The award consists of up to US $500 in kind to offset the cost of travel to and/or accommodations at the conference. A commemorative letter and plaque are also awarded. No cash is awarded.
Applicants must be students (or have been students since the last ICAF was held), or show acceptance into an academic program at the time of submission. For example, applicants for ICAF 2013 would have to prove their student status in calendar years 2012 or 2013, or provide evidence that they have been accepted into an academic program beginning in academic year 2013-2014.
The Scholarship competition is adjudicated by a three-person committee chosen from among the members of ICAF's Executive Committee. Applications should consist of the following written materials, sent electronically in PDF form:
- A self-contained excerpt from the project in question, not to exceed twenty (20) double-spaced pages of typescript.
- A brief cover letter, introducing the applicant and explaining the nature of the project.
- The applicant's professional resume.
A brief letter of reference, on school letterhead, from a teacher or academic advisor (preferably thesis director), establishing the applicant's student status and speaking to her/his qualifications as a researcher and presenter.
PLEASE NOTE that applications for the Lent Scholarship are handled entirely separately from ICAF's general Call for Proposals (http://www.internationalcomicartsforum.org/2013-call-for-papers.html). Students who submit abstracts to the general CFP are welcome to apply separately for the Lent Award.
The deadline for the next Lent Scholarship is February 1, 2013. Please send application materials via email to José Alaniz (jos23@u.washington.edu) of the ICAF Executive Committee. The next ICAF conference, run with our host institution the University of Oregon, is taking place at the White Stag Building in Portland, OR, May 23-25, 2013.
Friday, August 3, 2012
New issue of International Journal of Comic Art out now
International Journal of Comic Art
Vol. 14, No. 1, Spring 2012
Comic Strips:
An International Symposium
edited by
John A. Lent
Until Death Do Them Apart:
Gender Relations in the Brazilian Comic Strip "Radicci"
Ediliane de Oliveira Boff
3
Funny Papers, Unfunny Wars:
A Comparison of Three Armed Conflicts
as Depicted in "Doonesbury"
Michael Freund
17
Sanmao and Tokai:
Popular Street Urchins of Asian Comic Strips
John A. Lent
35
Lessons Learned: Milton Caniff's "Dickie Dare"
Sean P. Connors
51
Schulz, "Peanuts," and Metafiction
Roy T Cook
66
Stories of an Invisible War:
Comics and the Peruvian "Internal Conflict" (1980-2000)
Pedro Pérez del Solar
93
Graphic Tales of Cancer
Michael Rhode and JTH Connor
112
Ancient Egyptian Parodic Ostraca and "Comics"
Jennifer Babcock
157
The Picture Story Principle
Dietrich Grünewald
171
"A Groovy, Different Kind of Lay":
Sex, Disability, and Amputee Love
José Alaniz
198
Tibetan Mysticism and
the Development of Golden Age Superheroes
Peter Sandmark
216
Expanding Female Manga Market:
Shungiku Uchida and the Emergence
of the Autobiographical Essay
Kotaro Nakagaki
236
Strength and the Supernatural:
Navigating Liminal Zones in
the Herakles Tradition and Alan Moore's Tom Strong
Hannah Means-Shannon
251
Reminiscences
John A. Lent
267
Saseo Ono in His Nichiyo Hochi Days
Kosei Ono
268
Recalling Ah Da
Xu Chang (Charles)
Translated by Xu Ying
283
Memory of the Past
Wang Yiqian
Translated by Xu Ying
292
Recalling My Father Bit by Bit in His Daily Life
Sheng Dalong
Translated by Xu Ying
305
Recalling My Father -- Zhan Tong
Zhan Yong
Translated by Xu Ying
321
Farewell to My Father
He Ting
Translated by Xu Ying
332
The Man Without Fear, a Time of Fear:
A Review of Countercultural Themes
in the First 100 Issues of Daredevil
Bill Schulte
339
"What Can We Ever Have to Fear From a Blind Man?!!" or Spoiled (Secret) Identities: Disability, Daredevil and Passing
Jose Alaniz
360
Journalistic Comic Art of Pakistan:
Coverage of the Kerry Lugar Bill 2009
Amna Ashraf and Naveed Iqbal Chaudhry
376
The Comic Book in Brazil:
The Consolidation of a Publishing Format
Roberto ElÃsio dos Santos and
Waldomiro Vergueiro
391
Comics in the Life of the Young Adult Reader:
Understanding the Experience
of Reading Comics in Contemporary Society
Lucia Cedeira Serantes
407
Tomáš Kucerovský Interview
Jose Alaniz
419
Lost in Translation --
The Translations of
Wilhelm Busch's Illustrated Stories in Brazil
Gerson LuÃs Pomari
432
"I Love the Mayhem More Than the Love:
Homosocial Masculinity in Sgt. Fury and
His Howling Commandos
Justin Raymond
463
An Auteur Theory: Pro and Con
The Auteur Theory of Comics
Arlen Schumer
474
Jack Kirby Makes an Auteur Detour
Barry Pearl
485
Quan Yingsheng and
the Blending of Traditional Chinese Painting
with Comic Books
John A. Lent and Xu Ying
492
Myth and the Superhero:
Personal Choice in Batman, Arkham Asylum:
A Serious House on Serious Earth
Leslie J. Anderson
507
A Puppet´s Life
Kawamoto Kihachiro
Translated by Hiroko Takada Amick and Linda C. Ehrlich
525
The Battles of Herbie, Willie and Joe:
The Depiction of the Allied Soldier in World War II
through Comic Illustration
Cord Scott
530
"A Man Has Risen":
Hard Bodies, Reaganism, and The Dark Knight Returns
Richard Iadonisi
543
An Interview with
Malaysia's Political Cartoonist Zunar
Lim Cheng Tju
554
The Printed Word
John A. Lent
562
A Review Essay
La composition de la bande dessinée.
Renaud Chavanne (PLG: Montrouge 2010)
Review and interview by Pedro Moura
566
Book Reviews
Murray Lee Eiland
Simon Wigzell
Pascal Lefèvre
John A. Lent
595
Exhibition and Media Reviews
Edited by Michael Rhode
Nick Thorkelson
Michael Dittman
José Alaniz
Nicolas Pilla
604
He Wei (1934-2012)
John A. Lent and Xu Ying
623
Portfolio
Saturday, May 19, 2012
CFP: Mix 2012: A Comics Symposium, Marathon and Exhibition
UPDATE: We've extended the deadline for the CFP to July 6. We've posted the revised call on this webpage:
http://www.ccad.edu/events-
Mix 2012: A Comics Symposium, Marathon and Exhibition
Call for Papers, and Roundtable and Workshop Proposals
| Keynote Speaker: Theme: Symposium Dates: Proposal Deadline: | Chris Ware Epic Narratives October 4 – 6, 2012 June 4, 2012 |
This call invites proposals for papers, workshops and roundtables for the Comics Symposium, a celebration of and investigation into the art of the comic book, the graphic novel, and other book-length forms of sequential art narrative, featuring keynote guest Chris Ware, author of Jimmy Corrigan: The Smartest Kid on Earth. Consistent with the work of its keynote speaker, the Comics Symposium will be a two-day event for papers, workshops and roundtables, built around the theme "Epic Narratives". Details on the panel topics are below. Some of these panels will also connect to the hands-on workshops and discussion roundtables that follow them.
Designed to bring together a variety of perspectives in an open and welcoming environment, the College encourages submissions from artists, writers, educators, publishers, students, curators, and critics. As a proposal for a paper, workshop or roundtable is being reviewed, consideration will be given to this diverse population. Note that special consideration is also given to proposals which emphasize cross-disciplinary approaches and/or formats, and to roundtables or workshop proposals that connect the symposium theme and its panels to hands-on practice.
Proposals for papers for the following panels are welcome:
- The Epic Ordinary: Contemporary Life and the Epic Narrative in Comics
- Extraordinary Epics: Reshaping History and Myth in Contemporary Comics
- Dimensions of Gender: Depictions of Sex, Sexuality and Gender in Comics
- Sustainability or Apocalypse? Imagining the Future Through Comics
Proposals for workshops that are linked to the panels listed above are welcome. Proposal topics for additional panels and roundtables could include:
- Historical, Cultural and Ethnic Perspectives and Subjects in Comics
- Form and Style Considerations in Comics
- Images of Violence: Realism, Morality, Exploitation
- Digital Comics and the Technology of Making and Distributing Comics
- Depictions of 'Other' in Comics
- Curating Challenges
- Gender & Sexuality Representations
- Manga and Anime
- Comics and Memoir
Please read these instructions and additional guidelines before submitting:
- Submit one proposal as one electronic document containing the following information:
- a 200-word maximum abstract or description of the paper, workshop or roundtable to be presented
- a copy of the presenter's CV or resume
Important Notes:
Applicants may submit only one (1) proposal
Applicants must not include additional media files
Group proposals must include CV/resume information for all participants
- All sessions will have access to a projection screen and digital projector which can be run from an available desktop computer or a personal laptop. Any other audio-visual needs must be noted in the proposal and are subject to CCAD approval.
- If individual participation in the symposium must be limited to a certain time or day, it should be indicated in the proposal. CCAD cannot guarantee that the symposium schedule will be able to accommodate individual scheduling limitations.
- Those selected to contribute to a panel or other symposium event will have their registration fees waived; however, no additional funding will be provided. Papers must be presented in person.
- Applicants will be notified by July 2, 2012 of their proposal's status.
- The schedule will be finalized in August 2012.
Questions should be directed to: Robert Loss, Programming Chair, rloss@ccad.edu
Mission Statement:
Columbus College of Art & Design prepares tomorrow's creative leaders for professional careers. With a history of commitment to fundamentals and quality, CCAD advances a distinct, challenging, and inclusive learning culture that supports individual development in art, design, and the humanities.
About the College and the City:
Columbus College of Art & Design is located in downtown Columbus, Ohio in a thriving, up-tempo environment. Numerous hotels are within close proximity by cab, rental car or public transportation. Specific parking lots on the CCAD campus will be reserved for symposium participants. Columbus is served by Port Columbus International Airport, roughly 15 minutes from campus and the downtown area. Nearby attractions include the Columbus Museum of Art (across the street from CCAD), the Thurber House, the Ohio Statehouse, the Short North gallery district, and the Billy Ireland Cartoon Library and Museum at The Ohio State University.
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