Mediality and materiality of contemporary comics

Thon, Jan-Noël; Wilde, Lukas R. A.

doi:10.1080/21504857.2016.1199468

Cited by 11 publications

(3 citation statements)

References 36 publications

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“…As such, the article is also positioned within a confluence of film studies, media studies, comics studies, and game studies, and I am aware that the relationships between these (some more than others) are sometimes uneasy (see e.g. Thon and Wilde, 2016). By specifically looking at how television is represented in different media, one can see in what ways the ‘spatial and temporal layering of representational forms’ (Kendall, 2010: 190) occur across media, as well as how different effects and meanings are created.…”

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confidence: 99%

Moments of intermediality: The use of television in joker narratives

Nilsson

2018

Convergence

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This article uses the concept of intermediality to explore four different adaptations, across three different media, of the infamous supervillain the Joker. Independent of the medium representing him, a recurring practice is to have the Joker engage with media technologies. Television, in particular, is often used, as in the cases discussed here: Tim Burton’s film Batman (1989) and Christopher Nolan’s The Dark Knight (2008), the comic book Batman: Death of the Family (2014), and the video game Batman: Arkham Asylum (2009). Understood as media combination, intermedial referencing (Rajewsky (2005) Intermediality, intertextuality, and remediation: A literary perspective on intermediality. Intermédialités 6: 43–64), and through concepts such as contingency and liveness (Doane (2002) The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge: Harvard University Press), these intermedial moments, by way of emphasizing the materiality and temporality of media, are found to promote immersion while simultaneously causing tension by destabilizing the act of viewing.

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confidence: 99%

Moments of intermediality: The use of television in joker narratives

Nilsson

2018

Convergence

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“…Comics, for their part, have long been conceived as artefacts whose aesthetics result from the process of hand drawing, a notion that remains influential even after the advent of digital production and distribution technologies (Stein, 2015). Recently, however, the processes and practices of making comics have been examined in more detail (Brienza and Johnston, 2016; Wirag, 2016), while an increasing number of studies focus on the materiality of both printed and digital comics, showing how their ‘madeness’ includes, but is by no means limited to, the aspect of drawing (Thon and Wilde, 2016).…”

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confidence: 99%

Conference review

Bartosch

2017

Animation

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Animation and the medium of comics clearly can be, and often are, distinguished from each other. Regarding their aesthetics, however, they share a common ground: cel and stop-motion animation, computer-generated images (CGI) and comics are not only all (hand-)made artefacts, but they can also expose this 'madeness' in aesthetically specific ways. The variety of materials and techniques that can be used to make animation (see Furniss, 2008) by now constitutes a substantive area of research, covered by dedicated scholarly journals such as Animation Practice, Process & Production (2011-). These practices can result in artefacts with divergent aesthetics, revealing (or concealing) their 'madeness' to different degrees-something that animation studies have accounted for by situating both live action film and animated images on a continuum between mimesis and abstraction (Feyersinger, 2013; Furniss, 2007[1998]). Comics, for their part, have long been conceived as artefacts whose aesthetics result from the process of hand drawing, a notion that remains influential even after the advent of digital production and distribution technologies (Stein, 2015). Recently, however, the processes and practices of making comics have been examined in more detail (Brienza and Johnston, 2016; Wirag, 2016), while an increasing number of studies focus on the materiality of both printed and digital comics, showing how their 'madeness' includes, but is by no means limited to, the aspect of drawing (Thon and Wilde, 2016). To systematically address these phenomena, and to explore possible connections between them, the AG Animation and AG Comicforschung (working groups for animation and comics studies) of the Gesellschaft für Medienwissenschaft (Society for German Language Media Studies) hosted their first joint conference in November 2016. Under the title 'Zur Ästhetik des Gemachten in Animation und Comic' ('On the Aesthetics of the Made in Animation and Comics'), the conference was organized by Hans-Joachim Backe (Copenhagen), Julia Eckel (Bochum/Marburg), Erwin Feyersinger (Tübingen), Véronique Sina (Cologne) and Jan-Noël Thon (Tübingen). Funded by the Volkswagen Foundation, the event took place at Herrenhausen Palace Conference Centre in Hanover. The three-day programme included 2 keynote addresses, 7 panels with 19 papers and a panel discussion. As a consequence, there was no need to run sessions of parallel panels, which allowed for a continuous and fruitful conversation among the up to 50 participants (see the full programme in German at https://aesthetikdesgemachten.wordpress.com). In their opening remarks, organizers Julia Eckel and Véronique Sina addressed both general and specific aspects of 696460A NM0010.

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“…Dittmar, 2008; Berndt, 2015;Bachmann, 2016) as well as anthologies and special-themed issues of journals (e.g. Chute & Jagoda, 2014; Thon & Wilde, 2016), so it does seem as if comic studies are finding a home within media and communication studies, something this thesis could be viewed as further proof of.…”

Section: Media Communication and Comics Studiesmentioning

confidence: 99%

Comics and the Middle East: Representation, Accommodation, Integration

Strömberg¹

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The last few years have seen a flurry of academic activities on comics in the Nordic countries. But are we on the verge of establishing an independent field or a discipline of comics studies, or both? And if so, is this desirable? On an international level, comics studies have for some time been an intellectual field and can now be said to be on a pre-paradigmatic level as a discipline. In the Nordic countries, the field of comics studies has grown rapidly the last few years, but it is still very much dispersed, with researchers working at different departments and within a number of disciplines. There are tendencies towards a maturing into a more cohesive field, but this is a recent development. The establishing of a comics studies discipline, though keeping an open "rural mode" of knowledge production to prevent a loss of the positive aspects of interdisciplinary research, would facilitate the possibilities for professors' seats, journals, specific grants, recurring conferences and research libraries -and thus a more rapid growth of comics studies.

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Mediality and materiality of contemporary comics

Cited by 11 publications

References 36 publications

Moments of intermediality: The use of television in joker narratives

Moments of intermediality: The use of television in joker narratives

Conference review

Comics and the Middle East: Representation, Accommodation, Integration

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