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Nele Noppe

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

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academic literature manga call_for_papers

shared by Nele Noppe on 14 Jul 09 - Cached
  • 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

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

www.diigo.com/...5baf0923d645848efb2a5bd1f1f30a

academic call_for_papers manga comics

shared by Nele Noppe on 16 Jun 09 - Cached
  • 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
Craig Norris

Call for papers: PopCAANZ: The Popular Culture Association of Australia and New Zealand - 0 views

POPCAANZ 2nd Annual International Conference June 29-July 1, 2011 | The Langham Hotel, Auckland, New Zealand Call for Papers - deadline for submissions: January 30, 2011 The Popular Culture Assoc...

academic manga anime

started by Craig Norris on 13 Jan 11 no follow-up yet
Ariane Beldi

Transformative Works and Cultures - 1 views

journal.transformativeworks.org/...twc

online journal english html textual image pdf academic scholar articles review essay social sciences media studies cultural studies reception community fandom transnationalism theory method

shared by Ariane Beldi on 06 Sep 10 - Cached
  • Ariane Beldi on 06 Sep 10
     
    "Transformative Works and Cultures (TWC) is an international, peer-reviewed journal published by the Organization for Transformative Works. TWC publishes articles about transformative works, broadly conceived; articles about media studies; and articles about the fan community. We invite papers in all areas, including fan fiction, fan vids, film, TV, anime, comic books, fan community, video games, and machinima. We encourage a variety of critical approaches, including feminism, gender studies, queer theory, postcolonial theory, audience theory, reader-response theory, literary criticism, film studies, and posthumanism. We also encourage authors to consider writing personal essays integrated with scholarship; hyperlinked articles; or other forms that test the limits of the genre of academic writing."
  • Ariane Beldi on 06 Sep 10
     
    This online journal is opened to work on anime and manga fandom, so I thought this would be of interest to this group!
Nele Noppe

Applying Manga-Based Thinking Method to Help Student Teachers to Make Lesson Plans - 0 views

ci.nii.ac.jp/110007642206

academic manga education

shared by Nele Noppe on 02 Dec 10 - No Cached
  • Nele Noppe on 02 Dec 10
     
    This paper describes the application of a manga-based thinking method to train student teachers to form and revise their lesson plans from the learners' viewpoint. According to this method, learners are asked to present their lesson plan in the form of a manga. It is expected that this method will help student teachers to envision learners' voices since manga, which is comprised of actors and their words, can assist student teachers to simulate classroom activity vividly. The result of a field test suggests that manga-based thinking helps student teachers to see their lesson plan from the learners' viewpoint, and to revise their plan through conversing with the voices of the envisioned learners.
Nele Noppe

Okazu: Who Will Think of the Children? 誰が子供達のことを考えてくれるのか？ - 0 views

okazu.blogspot.com/...ho-will-think-of-children.html

non-academic manga children censorship law digital_manga homosexuality

shared by Nele Noppe on 14 Dec 10 - No Cached
  • I don't think this ordinance is the end of the world, but I do think it will hasten the end of the printed manga industry. Readers all over the world have been waiting for the push that will provide them with online versions of their favorite comics. I believe that this law will be that push. It will force publishing companies to move more explicit work underground - the online world is eminently suited for that. Less questionable materials will follow, because printing on paper costs more than not printing on paper and distribution costs less for digital material. There is a provision for the industry to self-regulate and, like most obscenity laws, this one may be hard to enforce, except for when someone is running for office and picks some scapegoat to make an example of. (As happened with Christopher Handley, who was sacrificed to a campaign strategy.)
  • I worry a bit about group shows like Comiket. Like Tokyo Anime Fair, it is held in Tokyo, where the ordinance has been passed. If you were a creator of materials that are regulatable, would you bring them to a public show right now? Consider that the law goes into effect on July 1, but in the half million people at Winter Comiket, there may be people who will be tasked with rounding up the creators next summer. Sure, it could go underground, become "a hydra," but what does that do for an already tenuous industry? It pushes extreme fetishists under the table to continue doing what they are doing, and leaves all the other creators sort of out there to be harassed. Probable? No. Possible? Yes.
  • 2nd Update: Brian Ruh on Twitter has pointed out that this Ordinance focuses on companies and their access to distribution, not creators, so at least for the moment, Comiket and other markets are not targeted.
Nele Noppe

マンガ教材における紙とデジタルのメディア比較 (メディアの活用と教育・学習環境/一般) - 0 views

ci.nii.ac.jp/40017374093

academic manga education

shared by Nele Noppe on 13 Dec 10 - No Cached
  • Nele Noppe on 13 Dec 10
     
    A comparison of digital media and papers in manga teaching materials
Nele Noppe

Face fault - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/Face_fault

non-academic visual_language

shared by Nele Noppe on 06 Dec 07 - Cached
  • face fault
  • meanings may differ depending on the usage by the artist or studio responsible for a work.
  • Facefault (spelled as one word): A character falling over (usually flat on their face or back, sometimes with their legs sticking up in the air as the only part of them visible on-screen) with a loud thud or crash from another character saying something anticlimactic or stupid.
  • ...13 more annotations...
  • super deformed face, which normally includes the disappearance of the nose, the oversimplification of the eyes, and a mouth bearing a simple triangular shape showing either no teeth (red) or all teeth (white).
  • Giant sweat drop: May indicate a response to a stupid or insane action or spoken line. Less frequently indicated nervousness, especially when a character is asked a question (s)he doesn't want to answer.
  • Multiple smaller sweatdrops: May indicate nervousness or fear.
  • Nosebleeds: Indicates lust (based on a Japanese wives' tale that a boy would get a nosebleed if he stared at a pretty girl).
  • Blushing of the cheeks or a red, blue, or purple bar across the nose: Indicates embarrassment, love or sometimes even a sense of fear. Blushing is also commonly used to depict drunkenness. Pulsating crossed forehead veins: Indicates anger, rage or irritation. If viewed from behind, veins can be viewed through hair, no matter how thick. Large, shining eyes: Indicates "cute" excitement.
  • U-shaped closed eyes: When rightside-up, can often indicate calm, exasperation, shame, or irritation. When upside-down, it indicates joy, nervousness, or pride, but sometimes also indicates irritation. For some characters, especially in Pokemon, a character's pupil may form this shape instead of their whole eye, basically because they are normally incapable of blinking. The shape can also be overexaggerated depending on the level of their emotion.
  • Flames in eyes: Indicates immense passion, usually accompanied by scared characters in background Normal eyes replaced with circular white eyes (usually with a black outline): Indicates surprise, shock, vacancy, a lack of intelligence or an instance where the character is "struck dumb". It can also mean extreme pain (often featured in One Piece and Naruto). Little twinkling stars appear around the character's face. Usually indicates idealism, often about a girl. (Sometimes featured in Trigun.) Rivers of tears underneath the eyes indicate comedic anguish or discontent. Balls of tears have also been used for the same purpose, either with large balls hanging on a string below the eyes, or as small balls just below the tear ducts. Lumps of flesh growing humorously on a character's head if he/she has been hit in the head. Occasionally, when a character is hit in the head more than once, however many extra times the character was hit will appear as small lumps on top of the large one. Eyes shaped like half-moons with very tiny pupils: Indicates a devilish intent, usually accompanied by a toothy grin, a flash on the corner of one of the eyes and sometimes the flat side of the eyes will form a V. Indicates anger, usually the flat side of the eyes will form a V parallel to the eyebrows (if any). The character is totally uninterested in the situation, usually accompanied by a flat small line as their mouth or simply having no mouth at all.
  • The sudden appearance of vertical lines on the face, indicates embarrassment or speechlessness in response to some absurdity. Character does a The Scream pose, indicating fear or great anguish. Character turns into a cracked stone statue or a sand pillar (having part of the body being blown away), indicating great emotional shock. Character is frozen by ice can either indicate: Someone just said something out of extreme stupidity. One of the characters told a joke (usually an old pun) that is not funny anymore. Occasionally, it will mean that another character is singing badly. General area around a character starts to snow, sometimes building up on and around them. Someone has said something that is not funny. The character has been shunned or ignored (the joke here being that they have been treated coldly). Character turns much smaller and cartoonish, looking like a doll; this is called "super deformed". A body scaled as 4~5 times the height of the head indicates the situation is still similar to normal. A body scaled as about 3 times the height of the head indicates the situation is greatly comical. A body scaled as about 2 times the height of the head (the main body is equal to or smaller than the head), indicates the situation is only for comical effects. The character's upper face (from the eyes up) is blacked out. This shadow usually indicates serious sadness or shyness. It is sometimes used for character's in the background or for grunts, thugs and soilders to indicate a genaric extra.
  • Hair can be used for the same purpose and may be accompanied with the shadow. However, without the shadow, hair slightly covers the face but no eyes are visible behind it, where they should be. (Nodoka Miyazaki from Negima is commonly seen this way and is considered a hairstyle: On side views, only one eye is made out before the hair cover-up begins.) Hats or other head wear can be used for the same purpose and may be accompanied with the shadow. On rare occasuns, the eyes will be shown with the shadow, indicating a grim resolve. This is also seen in Pokemon with the team rocket grunts. Character becomes monochrome during states of extreme stress or shock. Character becomes a wavy paper doll and undulates, indicating shock or playful bliss. Character shakes their arms with their hands closed in fists, and they are shown as multiple flesh-colored balls with motion lines and no arms: Indicates irritation, impatience, confusion or loss of control, or occasionally, running away from something or someone. Many times this one is shown full-body, with the same effect happening for his or her legs. When the character hears something very interesting or shocking behind their back, their ear instantly becomes much bigger and moves. A variation of this one appears in Slam Dunk, in which lead character Hanamichi Sakuragi sometimes folds his ears closed when he does not want to hear what others are saying. Short vertical red lines appear or flash above the character's head before disappearing, indicating that something has caught the characters attention or understanding.
  • Thin vertical blue lines appear over the character's forehead or back of head, often accompanied with a dark blue "aura": Indicates that the character is ashamed, guilty, afraid or depressed. (Commonly occurring in Ouran High School Host Club) When a white cloud-like puff flies out of a character's mouth and disappears: Indicates a sigh of exasperation, grudging acceptance, relief, boredom, or disappointment. Character's head becomes giant as it screams their anger at somebody else. Two character's heads may take turns in alternating between a "giant head" and a normal head as they are having an argument, each taking turns yelling at each other. Jaw drops all the way down to the floor. Another version of this is when the jaw is detached from the head and falls downs as a separate object after dangling. This is usually accompanied by buggy eyes or occasionally, eyes falling out. Pupils disappear, indicating shock, anger, or a bad pun. They may also disappear in times of extreme pain. When eating some spicy food, a character's face turns entirely red. The character's lips might turn swollen and red and the character occasionally breathes fire.
  • Characters sometimes fly off into the distance and finally disappear as a star in the sky when defeated in a duel. This is a common running gag in the Pokémon series with Team Rocket, appearing also sometimes in Love Hina, and characters can be KO'd in this way in the Super Smash Bros. video game series. In-game, this is known as a "Star Finish" ("Star KO" in Melee). The character will knock another character into the air when something stupid is said. (Frequently seen in Ranma ½) Two rivals may glare at each other, and have lightning bolts cross the gap between their eyes. Spirals replacing the eyes indicate that the character is under hypnosis, using hypnosis, or subconsciously attracted towards something as though they were hypnotized. Alternatively, spiraled eyes could indicate that the character is unconscious, but usually after a more trivial or comedic fight rather than a major battle. These are also used if the character is dizzy. Spiraled eyes are often accompanied by a completely white, banana-shaped mouth with equally white drool dripping down one corner. (Frequently seen in Rurouni Kenshin) Hearts replacing the eyes while the character clasps their hands is a sign that the character is attracted to someone. The screen colors being inverted generally represents moments of unexpected pain, such when someone is shot or hit with a knife. This effect can also be used to express extreme shock. When mocking or imitating another character, a character's face can actually morph into the face of the indivdual that they are mocking/imitating. A large spherical bump of skin with black dots shows up on the head (through the hair, in this case) or another part of the body if it gets hit (the black dots representing skin pores). Sometimes a crossed patch may appear on top of it.
  • A large bubble coming out of the nose of the character indicates sleep (from boredom or exaustion for example). Female characters are almost never shown with nose bubbles Eyes in which the pupils and irises disappear could either indicate shock or depict a charicter who is blinded (usually the latter).
  • The background may change to suit the mood of the scene, usually disregarding the physical setting of the scene. For instance: Action scenes (more prominently those that focus in a single character) have for background a dynamic set of parallel lines, all of the same color hue and drawn in the direction the character is going to (if they are facing forward though, these lines are vertical). The background of a romantic scene or the introduction of a beautiful and attractive character may be a motif of flowers or a translucent scene with twinkling lights (sometimes also containing bubbles). A scene where one character is in a rage may have a distorted, jagged background showing flames. A sudden gust of wind (and/or a loud crow flying in the background in a very straight line; the sound of the crow is a pun on its sounding like a-ho which means stupid) accompanying a bad joke or embarrassment. (this is a running gag in Episode 101 of Naruto) An expression of disbelief is commonly accompanied by a single-color background with prominent vertical black lines at the top of the frame. A lone spotlight shining on a character comically dramatizes despair. (see Menchi from Excel Saga) A kyokujitsuki war flag appears behind the character when they feel extremely and unreasonably proud or determined, complete with them standing on a heroic pose. It usually has a trumpet sounding in triumph as background music. Alternatively, they might be standing near a sea with giant powerful waves. Hitodama appear floating near the character when they feel depressed or scares other characters with their dark attitude. Very anguished character falls down in a very dark void with other objects circling them.
Nele Noppe

More than Words: Another New Narrative?: Academic Comics Conference in Association with... - 0 views

uwindsorcomics.blogspot.com/...narrative-academic-comics.html

academic call_for_papers manga comics

shared by Nele Noppe on 12 Feb 09 - Cached
  • Nele Noppe on 12 Feb 09
     
    Call for papers
Nele Noppe

Call for papers: The Artificial Life of Film: Dolls, Puppets, Automata, and Cyborgs in... - 0 views

preview.diigo.com/...27a4e8e3d4ea718c66c474a1190305

call_for_papers cyborgs_robots film anime technology psychology science_fiction

shared by Nele Noppe on 27 Jul 09 - Cached
  •  Proposed Panel for SCMS Conference, Los Angeles, March 17-21  The Artificial Life of Film: Dolls, Puppets, Automata, and Cyborgs in Cinema  Organizer Names:  Deborah Levitt, Assistant Professor, Culture and Media Studies,  Eugene Lang College, The New School  Allison de Fren, Mellon Postdoctoral Fellow,  Ammerman Center for  Arts & Technology, Connecticut College  Summary: From the early films of Georges Méliès, Fritz Lang, and the  Surrealist movement to Blade Runner, Being John Malkovich, Ghost in  the Shell, and Lars and the Real Girl, the cinema has had an enduring  fascination with artificial humans due to their unique ability to  picture the tensions between motion and stasis, animation and  inanimation, humanity and artificiality, the real and the virtual,  and the vital and the mechanical. Artificial bodies have also made  diverse appearances in film theory, from the "spiritual automaton"of  Gilles Deleuze to Roland Barthes' meditations on a cinematic  automaton in Camera Lucida to the broad field of reflections on  cyborgs and/in cinema. This panel seeks to interrogate any or all of  these conjugations of cinema and artificial lives — material and  philosophical, live action or animated, in fiction or documentary. We  are interested in the kinds of performativities engendered by these  ambivalent bodies: their uncanniness, their ontological  destabilizations, their epistemological games of masking and  unmasking. Papers might also consider how artificiality is mobilized  within particular genres or what kinds of meanings accumulate around  artificial bodies in relation to gender or race. We are interested in  how these figures help to construct a new genealogy of audiovisual  culture, one that could illuminate cinema's digital or animatic  present and future, as well as connections to various moments in the  historical long durée of dolls, puppets, and automata.  Please send an abstract of up to 300 words, five key references, and  a brief bio to levittd@newschool.edu and adefren@conncoll.edu by  August 10th.
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