Lesung und Diskussion „Vielfalt, Feminismus und Sexismus im Comic“ im Cöln Comic Haus

15.09.2018 18uhr

Am Samstag vor der diesjährigen ComFor-Jahrestagung zum Thema Zwischenräume – Geschlecht, Diversität und Identität im Comic findet im Cöln Comic Haus eine Lesung mit anschließender Diskussion zu einem verwandten Thema statt. Die Veranstaltung mit den Künstlerinnen Katja Klengel und Lara Breitbart (sowie Marie Schröer als Moderation) wird gemeinsam vom Institut für Medienkultur und Theater der Universität zu Köln und der Selfpublishing-Initiative Comic Solidarity organisiert:

Vielfalt, Feminismus und Sexismus im Comic – Lesung mit anschließender Diskussion

Frauen über Frauen im Comic – aber auch über Männer, und alles andere dazwischen. Zwei Künstlerinnen ziehen blank und lesen aus ihren Comicstrips über Sexualität, Rollenbilder, und dem Wunsch nach Vielfalt. Katja Klengel präsentiert im Rahmen einer Lesereise Episoden aus ihrer Kolumne Girlsplaining (Vice/Broadly), deren erste Printausgabe am 12. September 2018 bei Reprodukt erscheint. Lara Keilbart liest aus ihren Publikationen Troll Control und Bodies, die vom feministischen Comic-Netzwerk Berlin herausgegeben wurden, in welchem sie auch als Mitorganisatorin tätig ist. Anschließend folgt eine Diskussionsrunde mit Marie Schröer über die künstlerische und politische Arbeit der Beteiligten und die Situation der deutschen Comicszene im Jahr 2018.

Samstag, 15. September 2018 | 18-20h

Comic Solidarity (Dr. Lukas R.A. Wilde & Eva ‚Eve Jay‘ Junker) in Kooperation mit dem Institut für Medienkultur und Theater der Universität zu Köln (Prof. Dr. Stephan Packard & Dr. Véronique Sina)

Dr. Véronique Sina
Dr. Lukas R.A. Wilde

Cöln Comic Haus
Eventraum, I. OG
Bonner Straße 9
50677 Köln (Südstadt)

Doku „Warren Ellis: Captured Ghosts“ veröffentlicht

Eine von der „Sequart Organization“ und „Respect Films“ produzierte Dokumentation über Warren Ellis in Spielfilmlänge ist seit Kurzem auf YouTube verfügbar. Hinter dem Titel „Captured Ghosts“ verbirgt sich das bisher längste Interview mit dem Comic-Künstler, welches unter der Regie von Patrick Meaney zu einem Film mit zahlreichen Gastauftritten anderer Comic-Künstler_innen, Schauspieler_innen und Expert_innen wurde.


„Warren Ellis sees the future. He is a comic book writer and cyberpunk philosopher living on the edge of tomorrow. He speaks to a cult audience of artists, journalists, scientists and fans who hail him as INTERNET JESUS.

Discover Warren’s story in this feature length documentary featuring interviews with Warren himself, as well as Helen Mirren, Joss Whedon, Patton Oswalt, Stoya, Claudio Sanchez, Grant Morrison, Darick Robertson and many more.“ (Quelle: YouTube)

Zur Ankündigung auf der Sequart-Webseite

Monitor 44: Neue Publikationen 2018

Im Monitor werden in unregelmäßigen Abständen aktuelle Publikationen aus den letzten 6 Monaten vorgestellt, die für die Comicforschung relevant sein könnten. Die kurzen Ankündigungstexte dazu stammen von den jeweiligen Verlagsseiten. Haben Sie Anregungen oder Hinweise auf Neuerscheinungen, die übersehen worden sind und hier erwähnt werden sollten? Das Team freut sich über eine Mail an -> Zu früheren Monitoren.

Comic Book Movies

Queer about Comics:
Special Issue of American Literature 90(2)

Darieck Scott und Ramzi Fawaz (Hrsg.)
Duke University Press
Teilweise open access
ISSN (print) 0002-9831
Juni 2018

There’s something queer about comics. Whether one looks to the alternative mutant kinships of superhero stories (the epitome of queer world making), the ironic and socially negative narratives of independent comics (the epitome of queer antinormativity), or the social stigma that makes the medium marginal, juvenile, and outcast from ‚proper‘ art (the epitome of queer identity), comics are rife with the social and aesthetic cues commonly attached to queer life. Moreover, the medium has had a long history as a top reading choice among those ‚queer‘ subjects variously called sexual deviants, juvenile delinquents, dropouts, the working class, and minorities of all stripes. Despite this, comics studies and queer theory have remained surprisingly alienated from each other.

The Cambridge History of the Graphic Novel

The Cambridge History of the Graphic Novel

Jan Baetens, Hugo Frey und Stephen E. Tabachnick (Hrsg.)
Cambridge University Press
750 Seiten
ISBN 978-1-3167-5998-1 (Hardcover)
~£ 125,00
Juli 2018

The Cambridge History of the Graphic Novel provides the complete history of the graphic novel from its origins in the nineteenth century to its rise and startling success in the twentieth and twenty-first century. It includes original discussion on the current state of the graphic novel and analyzes how American, European, Middle Eastern, and Japanese renditions have shaped the field. Thirty-five leading scholars and historians unpack both forgotten trajectories as well as the famous key episodes, and explain how comics transitioned from being marketed as children’s entertainment. Essays address the masters of the form, including Art Spiegelman, Alan Moore, and Marjane Satrapi, and reflect on their publishing history as well as their social and political effects. This ambitious history offers an extensive, detailed and expansive scholarly account of the graphic novel, and will be a key resource for scholars and students.

Comic Book Movies

Comics and History:
Special Issue of Feminist Media Histories 4(3)

Kathleen McClancy (Hrsg.)
University of California Press
273 Seiten
ISSN (online) 2373-7492
Juli 2018

Comics inherently have a complex relationship with history. Popular conceptions of ‚history‘ as a line of cause-and-effect relationships culminating inevitably in the present moment are formally challenged by sequential art, which tends to refuse linear conceptions of time. Specifically, and contradicting the usual locating of history in an inaccessible past, comics as a medium depict past and present simultaneously. As Barbara Postema notes, unlike in film, all the images in comics exist at the same time—time is constructed spatially, as the eye moves from one panel to the next throughout the book, but the images themselves remain, regardless of the reader’s attention.

Panel „Disregarded Gaps“ auf der 1. CSS-Tagung in Illinois

09.08.2018 University of Illinois, Urbana und Champaign, Illinois, USA - 11.08.2018

Vom 9. bis 11. August 2018 findet unter dem Motto „MIND THE GAPS! The Futures of the Field“ die erste Jahrestagung der Comics Studies Society (CSS) statt. Dort wird es auch ein Panel der AG Comicforschung der GfM mit deutschen Comicforscher_innen geben: Das von ComFor-Mitglied Björn Hochschild organisierte Panel versammelt drei Beiträge zum Thema „Disregarded Gaps, Blanks, and Discontinuities in the Comics Reading Experience“.

Panel-Vorträge & Kurzbeschreibungen:

(1) „Towards a Phenomenology of Comics: Conceptualizing Discontinuities as Movement“ – Björn Hochschild (Berlin)

„Phenomenological conceptions of perception have developed into their own theoretical field when researching the aesthetic experience of films. Comic studies, however, have thus far shown little interest in phenomenology. Focusing on movement, my talk demonstrates how phenomenology can offer fruitful perspectives for studying the reading experience of comics.
Mostly seen as a still medium, comics are often defined by the contiguity of images, the juxtaposition of word and image, or discontinuities between panels and the gaps between them. Thus far, concepts of movement seem to focus either on the representation of movement – through gestural lines, body poses, etc. – or, more recently, on movement in eye tracking studies. I would like to propose a more general concept of movement for studying reader’s experiences by drawing on Maurice Merleau-Pontys “Phenomenology of Perception”. His work served as the foundation for film-phenomenology, starting with Vivian Sobchack’s “Address of the Eye”. However, in the light of the moving image, it was mostly read as a concept of perceiving movement. By arguing that Merleau-Pontys work is also a theory on movement in perception, I will propose ways to critically adapt his and Sobchack’s ideas for comic studies. My presentation will use an analysis of Chris Wares “Jordan Wellington Lint to show why and how gaps, ruptures and discontinuities in reading experiences can and should be understood though a phenomenological concept of movement.“

(2) „Musclemen, Toys, and Career Opportunities: Advertisements and the Reading Experience in 1970s Marvel Superhero Comics“ – Felix Brinker (Hannover)

„While the study of other paratextual elements (like editorials and letters pages) has enriched our understanding of comic books, the role of advertisements within the reading process has not yet received a similar degree of scholarly attention. Only marginally present in today’s comic books, advertisements were omnipresent during the 1970s, when a typical 36 pages-long issue might have included up to 16 pages of advertising content. Focusing on Marvel superhero titles released between 1971 and 1979, my paper considers the placement, form, and content of various types of ads and argues that their navigation constitutes an integral part of the reading experience. Due to its placement throughout the comic book, advertising from the period tended to interrupt the flow of narrative content, forcing readers to glance at, scan across, or flip over wanted and unwanted commercial messages. Many ads furthermore established a close affinity to the accompanying narrative by echoing the themes of superhero comics or including multi-modal arrangements of words and images. Accordingly, the paper suggests that these advertisements call up similar reading protocols as the comics narratives that accompany them, which are already defined by a contiguity and juxtaposition of different codes and signifying elements. Ultimately, the paper suggests that the strong presence of ads turned the 70s comic book into a multi-purpose medium that, aside from carrying narrative content and providing a forum for a public exchange between producers and consumers, also served as a mail-order catalogue for a variety of different (and often explicitly fan-oriented) products.“

(3) „Blanks as a materialization of forgetting in Emmanuel Guibert’s La Guerre d’Alan – Bettina Egger (Salzburg)

„Comics, and more particularly autobiographical writing in comics, have been widely discussed as a medium which materializes memory in a specific and multilayered way. My talk offers a fresh perspective and focuses on comics as a medium of forgetting, by considering the example of La Guerre d’Alan by the French comics artist Emmanuel Guibert. To do so, I will examine the role of the blanks to show how the comic negotiates the idea of forgetting – as opposed to remembering – on a graphic level. My talk focuses on the role of blanks within panels, rarely considered in existing comic studies work. I will examine such white, left-out spaces and framing techniques by connecting Aleida Assmann’s theories about cultural memory and forgetting to Hillary Chute’s discussion of embodiment in comics. By showing several examples from La Guerre d’Alan I want to analyse the idea of forgetting in Guibert’s comics. My talk will demonstrate how a metadiscourse is produced on the graphic level, which questions the life narrative given by the verbal track of the comic. In this way, La Guerre d’Alan appears as a comic which stages processes of remembering/forgetting through the interplay of the visible and the invisible and puts them up for discussion through the mutual questioning of the verbal and the visual.“

Zur Konferenz-Webseite

Monitor 43: Neue Publikationen 2018

Im Monitor werden in unregelmäßigen Abständen aktuelle Publikationen aus den letzten 6 Monaten vorgestellt, die für die Comicforschung relevant sein könnten. Die kurzen Ankündigungstexte dazu stammen von den jeweiligen Verlagsseiten. Haben Sie Anregungen oder Hinweise auf Neuerscheinungen, die übersehen worden sind und hier erwähnt werden sollten? Das Team freut sich über eine Mail an -> Zu früheren Monitoren.

Comic Book Movies

Comic Book Movies

Blair Davis
Rutgers University Press
200 Seiten
ISBN 978-0-8135-8877-3 (Paperback)
~$ 17,95
April 2018

Comic Book Movies explores how this genre serves as a source for modern-day myths, sometimes even incorporating ancient mythic figures like Thor and Wonder Woman’s Amazons, while engaging with the questions that haunt a post-9/11 world: How do we define heroism and morality today? How far are we willing to go when fighting terror? How can we resist a dystopian state? Film scholar Blair Davis also considers how the genre’s visual style is equally important as its weighty themes, and he details how advances in digital effects have allowed filmmakers to incorporate elements of comic book art in innovative ways. As he reveals, comic book movies have inspired just as many innovations to Hollywood’s business model, with film franchises and transmedia storytelling helping to ensure that the genre will continue its reign over popular culture for years to come.

The Psychology of Marvel's Wolverine

The Psychology of Marvel’s Wolverine

Suzana E. Flores
McFarland Books
205 Seiten
ISBN 978-1-4766-7442-1 (Paperback)
~$ 92,95
Juni 2018

Wolverine. Logan. Weapon X. By any name, Marvel Comic’s savage, brooding antihero is, in his own words, the best at what he does—killing with gratuitous precision. Paradoxically violent yet humane, the beer-swilling, cigar-smoking mutant with retractable claws is universally misjudged in the Marvel Universe yet esteemed by fans worldwide. The author explores Wolverine’s development from bit character to modern legend over more than four decades, with a focus on his enduring appeal as an allegory for resilience through torment.

uffering Sappho

Cultures of War in Graphic Novels:
Violence, Trauma, and Memory

Tatiana Prorokova und Nimrod Tal (Hrsg.)
Rutgers University Press
237 Seiten
ISBN 978-0-8135-9095-0 (Paperback)
~$ 29,95
Juni 2018

Cultures of War in Graphic Novels examines the representation of small-scale and often less acknowledged conflicts from around the world and throughout history. The contributors look at an array of graphic novels about conflicts such as the Boxer Rebellion (1899-1901), the Irish struggle for national independence (1916-1998), the Falkland War (1982), the Bosnian War (1992-1995), the Rwandan genocide (1994), the Israel-Lebanon War (2006), and the War on Terror (2001-). The book explores the multi-layered relation between the graphic novel as a popular medium and war as a pivotal recurring experience in human history. The focus on largely overlooked small-scale conflicts contributes not only to advance our understanding of graphic novels about war and the cultural aspects of war as reflected in graphic novels, but also our sense of the early twenty-first century, in which popular media and limited conflicts have become closely interrelated.

Panel „Jewish Women in Comics“ in Krakau

Vom 15. bis 19. Juli 2018 findet in Krakau der „XIth Congress of the European Jewish Studies Association (EAJS)“ statt. Auf ebendiesem gibt es u.a. auch ein Panel zu „Jewish Women in Comics“, welches gemeinsam von Véronique Sina und Sarah Lightman organisiert wurde; moderiert wird das Panel wird von Kalina Kupczynska (Lodz).

Panel-Vorträge & Kurzbeschreibungen:

(1) „Idolizing Jewish Women*: Gender & The Second Commandment in Comics“ – Katharina Serles (Dresden)

„Images of Jewish women* are somewhat precarious. First, from a religious perspective, as ‚[o]bservance of the Second Commandment is profoundly gendered“ and „images of women are doubly restricted under the fear of idolatry.‘ Thus, the visual depiction of historically and strategically marginalized figures such as Regina Jonas – the first woman* to be ordained as a rabbi – via comics might classify as ‚doubly subversive‘: What is shown is not supposed to be shown, much less exist. Second, from a feminist standpoint, which has discussed, questioned and critiqued the respective gender roles of „Woman as Image, Man as Bearer of the Look”. What is shown is to be looked at for (erotic) pleasure and remains without agency. Therefore, I would like to propose a gendered perspective on Jewish (an)iconicism, idolatry and iconoclasm , drawing from visual studies and discussing mostly German-speaking comics. I will argue whether ‚idolizing‘ Jewish women* – in works by Elke Renate Steiner, Barbara Yelin and Katrin Bacher e. g. – in both a literal and a metaphorical sense might continue projections, misrepresentations and fetishizations or manage to establish an ‚oppositional gaze.'“

(2) „Jewish Gender Trouble-Constructions of Gender and Jewish Identity in the Comics of Aline Kominsky Crumb“ Véronique Sina (Köln)

„As Andrea Most points out, every comic artist dealing with Jewish characters has to decide ‚how to represent a Jewish body and how to determine what exactly a Jewish narrative looks like.‘ Hence, ‚[t]he choices each artist makes about how to represent Jewish bodies tell a story about the shifting status of Jewishness in contemporary […] popular culture.‘ In fact, when it comes to gendered Jewish identities, the body plays a crucial role. In her expressionistic (auto-)biographical comics Jewish-American Underground cartoonist Aline Kominsky Crumb addresses the central role of the body for the representation and cultural construction of Jewish women, showing that ‚[…] the Jewish body is always inevitably a gendered body.‘ Paying particular attention to comic-specific modes of (visual) representation, my paper explores how Kominsky Crumb’s distinctive style manages to generate Jewish Gender Trouble. As will be shown, her ‘grotesque’ and cartoony drawings not only question the reliability and authenticity of the things depicted, they also undermine established notions of what is considered to be suitable, acceptable and beautiful to look at – especially when it comes to representations of the female (Jewish) body. In this respect, the gendered Jewish identities found in the comics of Kominsky Crumb must be understood as constructed, performative concepts, of doing gender and doing (Jewish) identity.

(3) „Gendered Jewish Childhoods in Comics about the Shoa“ – Markus Streb (Gießen)

„Stories about children are an increasing trend among comics dealing with the Shoah. Especially the last two decades brought many significant works in which the protagonists were women and children. One of the most prominent examples might be Miriam Katin’s We Are on Our Own, the only comic done by a survivor herself. There are further stories dealing with children in hiding, like Mendel’s Daughter by Martin Lemelman or the countless comics dealing with Anne Frank. Collections like Philippe Thirault’s Les Enfants Sauvées, present various stories about children in one issue. Adult female protagonists can be found in comics like The Search by Eric Heuvel et al. or Rutu Modan’s The Property. Consequently, scholarly research has identified the tendency of those stories to feminize Jewish victims. This paper argues that the portrayal of Jewish girls and boys can fulfil different narrative purposes. In order to detect some of these purposes, I will show to what extend aspects like agency or the portrayal of bodies of male and female protagonists vary among the comics. In order to provide a reflection on tendencies of feminization and passivation that can be found in the comics, the focus will be on narratives dealing with hiding, rescue and resistance. I will furthermore show which aspects of the Shoah are never or scarcely told in the stories focussing on children, in order to address interpretations of the extermination which are thus implied.“

(4) „Jewish Motherhood/Unmotherhood: Breastfeeding, IVF and the Holocaust“ – Sarah Lightman (Glasgow, UK) and Emily Steinberg (Penn State, USA)

„‚Jewish Motherhood/Unmotherhood‘ is a joint art project by fine artists and comics artists Sarah Lightman and Emily Steinberg that explores sociocultural pressure within the Jewish community towards motherhood. These comics, paintings and drawings are imbedded in their own autobiographical experiences: Sarah’s experiences of having, and Emily’s experience of not having, children. Jewish motherhood is one of the central tenets of Jewish life, but what if your experience of being a mother is not meaningful or enjoyable? What if you can’t /won’t have children? A culture of expectation, shame and secrecy surround women on all sides of the Jewish motherhood/unmotherhood spectrum. Sarah found the first year of her son’s life exhausting, boring and frustrating and as a result she decided not to have any more children. Yet, she confronts disbelief and criticism for this choice and for her drawings and animation films about her frustrations at parenthood. Emily has experienced I VF, and I VF “failure”, and her creative expressions of this are in contrast to others who refuse to tell of their own fertility treatment. Through this lens, Emily has produced a series of large raw autobiographical oil paintings, drawings and comics revolving around her experience with infertility: combining humor and pathos to communicate her early bright hope and the subsequently absurdly fruitless struggle to become a mother. Both artists feel they live in a space that is profoundly antithetical to the Judaism they were taught in their youth, and is still evangelized today.“

Zur Konferenz-Webseite

Monitor 42: Neue Publikationen 2018

Im Monitor werden in unregelmäßigen Abständen aktuelle Publikationen aus den letzten 6 Monaten vorgestellt, die für die Comicforschung relevant sein könnten. Die kurzen Ankündigungstexte dazu stammen von den jeweiligen Verlagsseiten. Haben Sie Anregungen oder Hinweise auf Neuerscheinungen, die übersehen worden sind und hier erwähnt werden sollten? Das Team freut sich über eine Mail an -> Zu früheren Monitoren.

Weltentwürfe im Comic/Film

Weltentwürfe im Comic/Film:
Mensch, Gesellschaft, Religion

Theresia Heimerl und Christian Wessely (Hrsg.)
372 Seiten
ISBN 978-3-89472-941-7 (Paperback)
~€ 29,90
April 2018

Comics, bis in die späten 1990er-Jahre oft als kulturelles Randprodukt gering geschätzt, geraten in Zeiten der multimedialen Kommunikation zunehmend in den Aufmerksamkeitsfokus. Im Comic erscheint das Bild auf das Allerwesentlichste hin destilliert und durch das Medium Text erweitert. In einem bis wenigen Bildern lassen sich so, optimiert für die Aufmerksamkeitsspanne der Web 2.0 – Generation, weltanschauliche, religiöse und soziale Probleme formulieren und zugleich scheinbare oder tatsächliche Lösungsvorschläge transportieren. Ihr Potential für ein Millionenpublikum entfalten sie in den letzten Dekaden aber durch zahlreiche Verfilmungen, ob als Anime, Arthouse oder Blockbuster. Die Erforschung dieses Potentials ist noch weitgehend unentdecktes Gebiet. In diesem Band werden erste Akzente gesetzt.
On Comics and Legal Aesthetics

On Comics and Legal Aesthetics:
Multimodality and the Haunted Mask of Knowing

Thomas Giddens
230 Seiten
ISBN 978-1-1382-2403-2 (Hardcover)
~£ 92,00
April 2018

What are the implications of comics for law? Tackling this question, On Comics and Legal Aesthetics explores the epistemological dimensions of comics and the way this once-maligned medium can help think about – and reshape – the form of law. Traversing comics, critical, and cultural legal studies, it seeks to enrich the theorisation of comics with a critical aesthetics that expands its value and significance for law, as well as knowledge more generally. It argues that comics’ multimodality – its hybrid structure, which represents a meeting point of text, image, reason, and aesthetics – opens understanding of the limits of law’s rational texts by shifting between multiple frames and modes of presentation. Comics thereby exposes the way all forms of knowledge are shaped out of an unstructured universe, becoming a mask over this chaotic ‘beyond’. This mask of knowing remains haunted – by that which it can never fully capture or represent. Comics thus models knowledge as an infinity of nested frames haunted by the chaos without structure. In such a model, the multiple aspects of law become one region of a vast and bottomless cascade of perspectives – an infinite multiframe that extends far beyond the traditional confines of the comics page, rendering law boundless.

uffering Sappho

“Suffering Sappho!”:
Lesbian Content and Queer Female Characters in Comics

Special Issue of Journal of Lesbian Studies
Michelle Ann Abate, Karly Marie Grice und Christine N. Stamper (Hrsg.)
Taylor & Francis
ISSN 1089-4160
Mai 2018

Comics have been an important locus of queer female identity, community, and politics for generations. Whether taking the form of newspaper strips, comic books, or graphic novels and memoirs, the medium has a long history of featuring female same-sex attraction, relationships, and identity. This special issue explores the past place, current presence, and possible future status of lesbianism in comics. It features essays about cartoonists such as Jennifer Camper, characters such as Wonder Woman, and titles such as Lumberjanes. This special issue also includes a roundtable that examines underrepresented identities in lesbian comics. These pieces address subjects ranging from the depiction of a Latina lesbian protagonist in AMERICA: The Life and Times of America Chavez and the debut of the first lead Black lesbian female superheroine in Cyberzone to the presentation of queer women in graphic novels from South Asia and the experience of re-reading Hothead Paisan in the age of Trump.

Michelle Ann Abate, Karly Marie Grice und Christine N. Stamper: Introduction: “Suffering Sappho!”: Lesbian content and queer female characters in comics

Caitlin McGurk: Lovers, enemies, and friends: The complex and coded early history of lesbian comic strip characters

Laura M. Jiménez: PoC, LGBTQ, and gender: The intersectionality of America Chavez

Margaret Galvan: Making space: Jennifer Camper, LGBTQ anthologies, and queer comics communities

Poushali Bhadury: “There is no such thing as a straight woman”: Queer female representations in South Asian graphic narratives

Erica Gillingham: Representations of same-sex relationships between female characters in all-ages comics: Princess Princess Ever After and Lumberjanes

Sheena C. Howard: Situating Cyberzone: Black lesbian identity in comics

Cynthia Barounis: Survival angst: Reading Hothead Paisan in the Trump era

Publikationshinweis „Empirical Approaches to Comics Research“

Soeben ist ein Sammelband zum Thema „Empirical Comics Research: Digital, Multimodal, and Cognitive Methods“ erschienen. Die englischsprachige Aufsatzsammlung wird von Routledge publiziert und ist von den deutschen Comicforscher_innen Alexander Dunst, Jochen Laubrock und Janina Wildfeuer herausgegeben worden.

Kurzbeschreibung (Englisch):

„This edited volume brings together work in the field of empirical comics research. Drawing on computer and cognitive science, psychology and art history, linguistics and literary studies, each chapter presents innovative methods and establishes the practical and theoretical motivations for the quantitative study of comics, manga, and graphic novels. Individual chapters focus on corpus studies, the potential of crowdsourcing for comics research, annotation and narrative analysis, cognitive processing and reception studies. This volume opens up new perspectives for the study of visual narrative, making it a key reference for anyone interested in the scientific study of art and literature as well as the digital humanities.“


1. Comics and Empirical Research: An Introduction (Alexander Dunst, Jochen Laubrock, Janina Wildfeuer)

I. Digital Approaches to Comics Research

2. Two Per Cent of What? Constructing a Corpus of Typical American Comic Books (Bart Beaty, Nick Sousanis, Benjamin Woo)

3. The Quantitative Analysis of Comics: Towards a Visual Stylometry of Graphic Narrative (Alexander Dunst, Rita Hartel)

4. „The Spider’s Web“: An Analysis of Fan Mail from Amazing Spider-Man, 1963-1995 (John Walsh, Shawn Martin, Jennifer St. Germain)

5. Crowdsourcing Comics Annotations (Mihnea Tufis and Jean-Gabriel Ganascia)

6. Computer Vision Applied to Comic Book Images (Christophe Rigaud and Jean-Christophe Burie)

II. Linguistics and Multimodal Analysis

7. From Empirical Studies to Visual Narrative Organization: Exploring Page Composition (John A. Bateman, Annika Beckmann, Rocio Varela)

8. Character Developments in Comics and Graphic Novels: A Systematic Analytical Scheme (Chiao-I Tseng, Jochen Laubrock, Jana Pflaeging)

9. How Informative are Information Comics in Science Communication? Empirical Results from an Eye Tracking Study and Knowledge Testing (Hans-Jürgen Bucher, Bettina Boy)

10. The Interpretation of an Evolving Line Drawing (Pascal Lefèvre, Gert Meesters)

III. Cognitive Processing and Comprehension

11. Viewing Static Visual Narratives Through the Lens of the Scene Perception and Event Comprehension Theory (SPECT) (Lester Loschky, John P. Hutson, Maverick E. Smith, Tim J. Smith, Joseph P. Magliano)

12. Attention to Comics: Cognitive Processing during Reading of Graphic Literature (Jochen Laubrock, Sven Hohenstein, Matthias Kümmerer)

13. Reading Words and Images: Factors Influencing Eye Movements in Comic Reading (Clare Kirtley, Christopher Murray, Phillip B. Vaughan, Benjamin W. Tatler)

14. Detecting Differences Between Adapted Narratives: Implication of Order of Modality on Exposure (Joseph P. Magliano, James Clinton, Edward J. O’Brien, David N. Rapp)

15. Visual Language Theory and the Scientific Study of Comics (Neil Cohn)

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