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Nele Noppe

Call for papers: IBBY UK/NCRCL MA CONFERENCE, 14 NOVEMBER 2009 Roehampton University, L... - 0 views

  • IBBY UK/NCRCL MA CONFERENCE, 14 NOVEMBER 2009 Roehampton University, London - Call for Papers The theme this year is Comics and Graphic Novels. Graphic novels are becoming increasingly popular and diverse in the UK and have been highly valued in many countries, notably France, Belgium and Japan, for many years. The 2009 IBBY UK/NCRCL MA conference will explore the developing interest in this medium from a variety of perspectives, in addition to considering developments in the range and content of comics available to children and young people. The conference will include keynote presentations by well-known writers, publishers and academics. Proposals are welcomed for workshop sessions (lasting about 20 minutes) on the following or other relevant issues: International perspectives – comics and graphic novels in a particular culture and/or across cultures Comics from a contemporary or historical perspective. Has the number and range of comics declined and, if so, why? Manga - its origins in Japan and developments and adaptations in other cultures New literacies – the changing interface between visual images and text Links between media – computer games, films, internet comics, character toys Animations and cartoons The work of individual and collective creators of comics and graphic novels. What collaborations are involved in the production of a graphic novel? Is the author a major or minor player in the design of a graphic novel? Use of artistic styles – colour/black and white artwork/photography/fonts and typography. What are the technical complexities of producing comics and graphic novels? Engagement of children and young people with/through this medium. Is there a particular appeal to the `reluctant' reader? Gendered reading. Do comics and graphic novels have more appeal to male readers? Controversial issues/taboo subjects – the notion of `appropriate' material for What is the appeal of a graphic novel as against an illustrated book? How do picture books compare in popularity with graphic novels for a younger age group? We welcome contributions from interested academics and others. of these areas. Brief accounts of the papers that are presented at the conference will be published in the Spring 2010 issue of IBBYLink, the journal of British IBBY. Also we hope that the proceedings of the conference will be published later that year in full in book form. The deadline for proposals is 20 July 2009. Please email a 200-word abstract (for a 20-minute paper) as an attached Word document to Pat Pinsent and also contact her if your require any further information on this call for papers. Please also include a short biography and affiliation. Pat Pinsent, 23 Burcott Road, Purley, CR8 4AD. Tel: (020) 8668 4093. Email: patpinsent@aol.com The IBBY has just opened the CFP for its September 2010 conference in Santiago de Compostela, Spain. The theme is "The Strength of Minorities". Details here: http://www.ibbycompostela2010.org/ Topics Children's and young people's literature: a minority area within the literature arena Despite the high quality and notable presence of children's book editions and the general growth of literature, they still hold a minority status in the eyes of editors, writers and the media, generally. Why are we writing or illustrating for children in these conditions? Children's and young people's literature in minority languages: from difference to survival Literature written in minority languages invariably face a wide set of challenges. Its survival is dependent on factors such as socio-political context, the extent of the official status bestowed on them and the general public response to cultural and linguistic diversity. Children's books can contribute towards the standardization of the edition in minority languages. However, publishers targeting a reduced market undoubtedly encounter many difficulties. Readers in a minority situation Children and young people with disabilities or special needs usually encounter many obstacles with regards to access to books or the pleasure of reading. We must find solutions to help combat these difficulties. A readership bereft of childhood Books and reading matter are generally considered staples for intellectual and cultural development and the growth of the youngest members of society. However, not all children have easy access to books. How do we broach the subject of books and reading material with those readers who missed out on their childhood: exploited children and those without even enough to eat? I am a reading girl, you are a reading boy... Do we still need children's literature which takes into account the gender issue? How do we tackle questions relating to sexual orientation and the rights of sexual minorities within children's books? Globalizing diversity and tolerance through children's books The 21st century must ensure the survival of minorities on the road to a better future. Diversity and tolerance - which are vital for a fairer world - must respectively make inroads in relation to minority groups.
Nele Noppe

iPad Publishing No Savior for Small Press, LGBT Comics Creators - 3 views

  • Anticipated as a potential savior of the comics industry, distribution of digital comics through Apple's iPhone and iPad is proving not to be the magic bullet many had hoped for. Format issues, pricing concerns, and censorship of content are hindering many creators, particularly those making lesbian and gay comics, from taking full advantage of this new outlet for their work.
  • But Apple chose ePub as the format for books sold through iBooks; the format is not designed to support fully illustrated projects like art books and comic books, and presents them with large white margins on each page. There are only a handful of graphic novels available in the iBooks store; most have been modified to show a few panels per page to avoid shrinking the content excessively.
  • Even if a creator happened to have the technical proficiency to write her own comics app, going from iBooks to a boutique comics app is hardly ideal for a small publisher or self-published creator. You have no opportunity to reach readers unless they specifically look for comic books; you don't benefit from the browsing and search traffic on the larger store and your books won't appear in searches. But even if a creator or small publisher persevered and created and successfully promoted his own comics app, there is the last, and possibly most significant, hurdle to overcome: Apple censorship.
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  • Digital magazine store Zinio, like all content suppliers for iPhone and iPad, agreed to Apple's "Regional Content Review" for all items sold through their app. This means that all "in-app purchasable" content must be approved by Apple to be acceptable to the broad U.S. population (the United States is one "region") or it will block it. The more obvious targets for censorship in the Zinio store included Playboy and Penthouse magazines, but Vogue France was also rejected because it features artistic and occasional use of nudity. Vogue France is also not stocked at Wal-Mart stores for the same reason.
  • Stories have surfaced about comic books being blocked as well. In February, Stephen Lindsay, the creator of Jesus Hates Zombies, discovered that a link to buy his book through the ComiXology app had stopped working. A ComiXology rep explained in a tweet that Apple "deemed it inappropriate according to their SDK guidelines" and they were forced to remove it.
  • "Here's the thing," said Lindsay. "Jesus Hates Zombies doesn't involve any sex whatsoever. None. It has violence and swearing, but that's because it's a mature readers horror comedy. But the violence isn't even intense. And being a black and white comic, there's zero red blood, which means any gore is dramatically cut down."
  • When asked if it would be fair to say that any comics with content that would fit in an R-rated movie (violence, brief nudity without explicit sex) would fit into Apple's guidelines, Murphey agreed.
  • "People seem to think that Apple is slamming our hands down every day saying 'No — we shall oppress this material— you are not permitted to do anything that we do not deem to be family friendly'… and that's not what's happening at all," Murphey continued. "Apple has not censored what we publish in a way that we feel has been terribly oppressive. When things first started in 2008, before they had the parental controls in effect, they were much more strict about what could and couldn't be allowed in the store. Now things are much better."
  • "My problem with Apple banning [Jesus Hates Zombies] is simply this," says Lindsay. "They allow the Marvel book Kick-Ass. How in God's name is my book worse than Kick-Ass when it comes to content? The simple answer, it's not. But because Kick-Ass is a Marvel book, it gets a pass."
  • The experience of smaller publishers producing books with LGBT characters and situations also seems hard to reconcile with Murphey's assessment of Apple's guidelines. Tom Bouden's adaptation of The Importance of Being Earnest was rejected as an iPad app for the App Store, again due to "materials that may be considered obscene, pornographic, or defamatory." A handful of sexually suggestive images depicting men, some extremely mild, were specifically flagged as problematic in the 80-page graphic novel.
  • perhaps to avoid calling attention to its restrictions, Apple did not allow black censor bars to appear in content.
  • Yaoi Press packaged their graphic novel Zesty for submission to the App Store with the assistance of digital provider Fika Publishing
  • The book was rejected without explanation.
  • "I'm not as hopeful about the iPad as I was this morning," said Abraham in an article about Manga on the iPad for About.com. "The iTunes store just rejected Zesty, our tamest graphic novel, without citing a reason. We thought this could be a bright spot for us, akin to our sales on Amazon Kindle, but we're very discouraged right now."
  • We have snuck onto Apple platforms through the Kindle app." A search on Amazon's Kindle Store for Yaoi Press titles yields a wide range of prose and graphic novels, all of which can be purchased and synced to an iPad or iPhone. Kindle purchases do not happen "in-app", and are not required to be reviewed and approved by Apple. Amazon appears to have no content restrictions with regard to sexual content; even explicit sexual material appears to be fair game for Kindle books.
  • "Amazon doesn't seem to have a problem with the story," Bonte said. "They accepted it for digital distribution. The problem with Amazon is that they take 70% and Apple only 30%, plus the platform is absolutely not usable for comics.
  • "If Dylan was 20 today," Tate wrote, "how would he feel about your company? Would he think the iPad had the faintest thing to do with 'revolution'? Revolutions are about freedom." "Yep, freedom from programs that steal your private data," Jobs responded. "Freedom from programs that trash your battery. Freedom from porn. Yep, freedom. The times they are a changin', and some traditional PC folks feel like their world is slipping away. It is."
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    It looks like I'm not about to get an iPad! I have already decided not to get an iPhone (short-lived batteries, locked software, cost of mobile internet subscription) but it looks like Apple is heading in a direction with which I can't agree, meaning that my next computer certainly won't be from this brand. There were things I didn't like with Microsoft either, but it seems that Apple is doing even worse. And Google isn't walking that much of a more satisfying path. After I'm done with my dissertation, I'm definitely planning on learning better how to use linux and other open-source materials.
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    I did get an iPhone last year. The very high cost is somewhat balanced out by the great ease of use, but after all the random app-banning and the launch of this new reactionary device, I have to agree with you and quit buying Apple products. This kind of content censorship is incredibly harmful.
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    Ah! So, you were also a victim of the iPhone craze! ;-) I must say that it does look very enticing and seducing, but I feel that Apple is going too far with all these automatisms, to the point that you don't even know where the stuff you download or even write is stored on your device. There was a time when Apple products were more transparent than Microsoft's. But now, ergonony for the sake of ergonony and design have taken over completely to the point that Apple products are becoming complete "black boxes". My next cell-phone will certainly look a lot more like a smart phone than mine does now, but it won't be an Apple product, nor probably an Android one. I don't like all these geolocalization softwares. I'm not sure what it will be, because my present cellphone is doing ok and have no idea how long it will last, so it will depend on what's available and within the reach of my wallet.
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    Yes yes, it was a bad call, thank you for rubbing it in ;) In my defense, they hadn't started with the app-bannings and absurd censorship policies back then. Listening to Jobs defining "freedom" now, it's like hearing Agent Smith explain the purpose of the Matrix. I'm not sure what my next phone will be, either. Android looks better, but Google owns quite enough of me as it is.
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    Well, I don't blame you! My father got one as soon as he was able to. His excuse was that he needed to receive emails on his cellphone, but there were other brands and models who could do the same. They just weren't as sexy and let's face it, not as frequently displayed in public spaces. As for me, since I didn't want to get a mobile internet subscription, as they are quite expensive in Switzerland (around 60 Euros/month and for a limited amount of downloaded data), an iPhone would have been pretty much useless and would have costed me a fortune (without phone subscription, they were sold between 700 and 800 Euros a piece). So, what saved me, in reality, was simply lack of money and other priorities than mobile telephony. Moreover, I have an iPod mini on which I can download music, radio recording and video shows, so I don't need anything else to entertain me during my train travels. So, really, I have absolutely no merit whatsoever for not following fashion...if I had had the money, who knows...I might have fallen to the craze too! ^_^
Nele Noppe

CFP: From an Intercultural Crossover to a TransculturalPhenomenon: Manga, Comic, Graphi... - 0 views

  • CALL FOR PAPERS Title: From an Intercultural Crossover to a Transcultural Phenomenon: Manga, Comic, Graphic Novel International Conference at the Cultural Institute of Japan, Cologne (Japanisches Kulturinstitut Köln, The Japan Foundation), September 30 – October 2, 2010, in cooperation with CITS (Center for Inter- and Transcultural Studies, University of Cologne) Manga, comics and graphic novels are shaped by different cultural codes and shifting visual and narrative conventions. This conference focuses on the historical development and theoretical aspects of comics and manga by stressing their mutual influences. Whereas European and North American art and popular culture exert a great impact on Japanese manga, such as the Franco-Belgian tradition of “ligne claire” on Ōtomo Katsuhiro and Taniguchi Jirō, Walt Disney’s animated films on Tezuka Ōsamu and Christian and Antique ideas on Miyazaki Hayao, Japanese manga influence the concept and visual conventions of modern European and American comics as well, as can be seen in the work by Frédéric Boilet, Moebius, and Frank Miller, among others. Moreover, the intercultural exchange between the Japanese manga tradition and equivalent forms of sequential art in other Asian countries (i.e. China, India, and Korea) largely contributes to the dissemination of new hybrid art forms in the realm of comics and manga. The purpose of this conference is to bring together scholars and other experts of different countries and different fields, i.e. literary studies, picture theory, cultural studies, linguistics, narratology, film studies, and semiotics, who pursue different areas of investigation in this field. In order to adhere to a general outline for this conference, the papers might deal with one or several of the following topics: • Intermedial, intercultural and narrative perspectives for the interpretation of the graphic novel and other genres of sequential art prominent in both comics and manga • Comparative analysis of the construction of time and setting in comics and manga • The functions of color in comics and manga • Similarities and differences between Japanese and other Asian manga and European and North American comics • Impact of wordless comics and manga • Historical development of the mutual influence of comics and manga • Change of the conventional verbal signs (such as speech balloons, sound effects, typography) • Influence of films and cinematic style on the production of comics and manga • Influence of visual codes derived from art history and popular culture in order to create an individual artistic style Contributions from academics and experts interested in any of these areas and in international perspectives are particularly welcome. There are plans to publishing the proceedings of the conference afterwards in book form. The deadline for proposals is: *31 August 2009*. Please email a 300 word abstract (for a thirty minute paper, followed by 15 minutes for discussion) and a short biography as an attached word document to Bettina Kümmerling-Meibauer at: bettina.kuemmerling@t-online.de and Franziska Ehmcke at: amm07@uni-koeln.de Notification of the acceptance of proposals will be made by 30 September 2009. The conference fee will be 120 Euro, including catering, technical equipment, conference folders and various arrangements. The conference venue is located in the Cultural Institute of Japan, not far from the University of Cologne. For details, go to www.jki.de (text in German and Japanese). For further inquiries contact the conference convenors: Bettina Kümmerling-Meibauer Universität zu Köln Institut für deutsche Sprache und Literatur II Gronewaldstr. 2 50931 Köln Germany E-Mail: bettina.kuemmerling@t-online.de Franziska Ehmcke Universität zu Köln Ostasiatisches Seminar (Japanologie) Albertus Magnus-Platz 50923 Köln Germany E-Mail: amm07@uni-koeln.de
Nele Noppe

Comics Go to the Ivy League - 0 views

  • KG: Spiegelman said the same thing about Maus, actually, about three years ago when these sections in bookstores were starting to gear up and gain ground. And he said, they want to shelve Maus in the graphic novel section, but it’s not a novel. It’s nonfiction. But now a lot of the stuff in the graphic novel section is nonfiction. And that’s because they are treating it like a genre when it’s a medium.
Nele Noppe

Manga Rule BookScan Graphic Novel List - Anime News Network - 0 views

  • 18 of the top 20 graphic novels sold in that month were originally created in Japan.
Ariane Beldi

Special Issue CFP: Transnational Boys' Love Fan Studies (March 2013) - 2 views

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    "'BL' (Boys' Love), a genre of male homosexual narratives (consisting of manga, novels, animations, games, films, and so forth) written by and for women, has recently been acknowledged, by Japanese and non-Japanese scholars alike, as a significant component of Japanese popular culture. The aesthetic and style of Japanese BL have also been assumed, deployed and transformed by female fans transnationally. The current thrust of transnational BL practices raises a number of important issues relating to socio/cultural constructs of BL localization and globalization. Scholarly endeavors in relation to BL can be enriched by further research concerning the activities of transnational BL fans, fan communities, fandom, and the production of fan fiction. Most previous BL fan studies have remained circumscribed to Japan and North America. Therefore, in order to further develop transnational BL fan studies, we are seeking contributors who are engaged in the exploration of non-Japanese and non-North American contexts (e.g. Europe, the Asia-Pacific region, Africa, and others). Transnational BL fan studies may also be incorporated into the broader socio/political critical frameworks offered by studies in economics, gender/sexuality, race/class, and other areas. "
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    For those who are studying fandom and Boy's Love, this might be an opportunity to share your researches!
Nele Noppe

Call for Papers: Images of Women in Film and Media - 0 views

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    MP journal seeks submissions that explore the ways Women/Femininity/Female agency are depicted in visual media such as video games, television, film, animation (anime), comic books, graphic novels, or any other visual depictions.
Nele Noppe

JapanFocuWho is Responsible? The Yomiuri Project and the Enduring Legacy of the Asia-Pa... - 0 views

  • In the 1950s and 1960s, war responsibility was debated not only in such academic works, but also in massively popular novels and films such as Gomikawa Jumpei’s Ningen no Joken [The Human Condition], which appeared in novel, movie and manga form, and included graphic representations of acts of brutality committed by members of the Japanese armed forces in China. [3]
Nele Noppe

The Graphic Classroom: MACBETH: THE GRAPHIC NOVEL - 0 views

  • Sometimes you have those moments, the ones when you look at a product and wonder why you did not think of it first.
  • jaw dropping in its ingenuity, approach to comic literature, and classroom utility.
  • The illustrations are also very appealing as they are detailed, colorful, and representative of modern comics. The art does not play to the child, but caters to a wide audience, pulling no punches and showcasing the story conscientiously.
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  • Classical Comics kneaded the word “adaptation” in such a common sense way, I am befuddled that no one thought of it before. Other comic adaptations of classic literature make a choice: Replicate every word and every scene exactly as it was in the original text, or take liberties with the language and the storyline. Classical Comics, on the other hand, takes what should be the obvious choice – all of the above – and creates different versions of the story to suit both traditional purists and modern audiences. The result is a brilliant product in three volumes, perfect to suit the needs of many, while still maintaining the authenticity of the original text. It is brilliant.
  • Shakespeare was meant to be seen, not read.
Nele Noppe

Graphic Novels Beyond the Basics: Insights and Issues for Libraries - 1 views

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    by Martha Cornog, Timothy Perper
Nele Noppe

ストーリーの知的内容を表すメタデータ記述項目の提案 : Wikipedia上のマンガ・小説作品記事を対象として - 0 views

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    A Metadata Element Set for Describing intellectual Content of Story : A Proposal Based on Description of Comics and Novels in Wikipedia
Nele Noppe

山形県内の高校図書館におけるマンガ・ケータイ小説の所蔵に関する基礎的研究 - 0 views

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    The study of comics and the mobile novel processed in the high school library in Yamagata
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