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| 2. |
- Ashkenazi, Ofer, et al.
(författare)
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Belonging in Auto|Biographical Comics : Narratives of Exile in the German Heimat
- 2020
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Ingår i: a/b. - London : Taylor & Francis. - 0898-9575 .- 2151-7290. ; 35:2, s. 331-357
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Tidskriftsartikel (refereegranskat)abstract
- This article analyzes the negotiations of belonging in three current documen-tary comics that examine aspects of German history mostly from biographicalor autobiographical perspectives. The authors argue that, using different nar-ration strategies, these comics present intricate interactions between placeand identity which shed new light on the contemporary identity discourse inand vis-a-vis Germany.
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| 3. |
- Clavier, Berndt, et al.
(författare)
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"Pictures and Conversations" Redefining the Graphic Novel
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Graphic Novel is a rather recent term, it marks distinct qualities of a group of artefacts to allow for differentiation and sales in late-modern (or post-modern) cultural context. Comics add their particular narrative potential to what the novel has done: they transplant novel-style narrations into image-based stories. In novels their author’s individual way with words, their voice is crucial. It defines the style, perspective, tone – the novel is about how a particular voice is expressed, it is not about the plot of the story as such. Comics are built from graphic representations that mark the distinct individuality of the auteur and/or graphic artist. Their view is expressed in the execution of each image and page design: "its 'graphiation’ – that is, the presence, within the very act of storytelling, of its maker" (Marion 1993 after Baetens 2001b, 146-150). There are enough comics labelled as graphic novels that are meeting the criteria for other literary genres to introduce differentiated labels: auto/biography, historiography, reports, travel writing, novels, …Even the difference between graphic adaptations of prose novels in difference to auteur comics matters (s. Schmitz-Emans 2013, 397 ff.).We need to invent the Graphic Novel twice. The marketing term is established, now we need to differentiate the academic use to understand and describe better specific literary forms and genres. To restrict “graphic novel” to visually narrated novel-type literature instead of all longer comics is a beginning…
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| 4. |
- Dittmar, Jakob, 1971-
(författare)
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Comics für Blinde und Sehbehinderte?
- 2022
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Taktile Comics für blinde und sehbehinderte Leserinnen und Leser sind eine gut gemeinte Idee, die jedoch in der praktischen Umsetzung schnel an Grenzen stößt. Besonders für Geburtsblinde ist das Konzept des Comics schwierig, in dem die Unterschiede zwischen Abbildungen bedeutungs- und erzählungstragend sind: zwar können Bilder im relief oder auf andere tastbare Form mit den Händen lesbar werden, aber der Vergleich und der damit verbundene Leseaufwand sind enorm. Auch die räumlichen Konzepte, die dabei Bedeutung bekommen, müssen erst gelernt werden.Wohingegen für Blinde mit Vorerfahrung von Comics und Bilderbüchern (vor der Erblindung) taktile Comics Freude machen können, so scheint das Prizip Comic für die allermeisten Geburtsblinden höchstens als intellektuelle Herausforderung von Interesse, Lesen zur Unterhaltung jedoch geschieht anders für diese Zielgruppe. Grenzen der medialen Anwendbarkeit und Zugänglichkeit werden diskutiert, die Gefahren von Fehleinschätzungen bei medialen Entwicklungen und Anwendungen, samt deren Erforschung, werden am Beispiel vertieft.
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| 5. |
- Dittmar, Jakob, 1971-
(författare)
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Defining the Graphic Novel
- 2022
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Ingår i: International Journal of Comic Art. - Drexel Hill, PA. - 1531-6793. ; 24:1, s. 608-622
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Forskningsöversikt (refereegranskat)abstract
- Narrative qualities of comics have become better understood with texts and images interweaving while offering different perspectives or focalisations in each image and different strands of texts. While different genres and styles are recognised in comics, a more differentiated approach to the distinct qualities of individual genres in graphic literature is needed if we want to understand and discuss these in their distinct graphic and narrative qualities that constitute their literary qualities, just like we discuss poetry and prose literature, film, and theatre - and their interrelations. The paper looks into the use of the term graphic novel, into attempts to define it in different cultural contexts. The dominating approaches from Franco-Belgian as well as Ango-American comics research are discussed to develop a more substantial definition. The result is more closely related to the verbal novel as comics have diversified into all kinds of narrative genres and forms that can be understood better if they are not seen as some vague forms of graphic novel, but rather as graphic travel writing, documentary, autobiography, soap opera, educational science, etc.
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| 6. |
- Dittmar, Jakob, 1971-
(konstnär, bidragsgivare, creator_code:cre_t)
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Hand-Puppet Construction
- 2021
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Konstnärligt arbeteabstract
- Material: Cardboard, a broom stick or similar, wooden balls or table tennis balls for the eyes (depending of format of eyes of course), glue, two dowels / plugs and a bit of stiff wire for the control of the eyes. Some ends of wooden boards – one for upper jaws, one for the head’s top, two for the uprights in the torso. Plywood or sturdy cardboard for the lower jaw. The torso can easily be built around a carton box, carefully glued shut, so that it becomes stable. Pvc-pipes and possibly fitting foam insulation around these pipes to build arms and legs. Some cheap rope and/or textile band for their joints.But alternatively: stuffed legs of smaller trousers or some pullover’s arms do the job as well! Screws can be used to secure rods, and the arms & legs joints. About steering: The puppet can be hung to the shoulders / head of the puppeteer from the ends of its shoulder-rod easily, but works fully well if simply held by the handle inside its head. Preparations: After sketching the figure’s appearance in large scale, it is quite easy to build the following puppet body and head as carrier. The detailed features are gued on or modelled around it. The same is done with the head: the box inside the head contains the eyes, their possible steering, and the gripp for the head / entire puppet. The features of the head are modelled around / on top of the box – it has to be built in suitable dimensions and form to avoid frustrating later adjustments! Esp, when the head-box is formed to support some animal’s head or fantastic beast or or or, it is crucial to test the basic cardboard-box for shape and handling, before a lot of work goes into details!
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| 7. |
- Dittmar, Jakob, 1971-
(författare)
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in need of catalogues and access - hidden gems for researchers : finding comics archives and their content
- 2022
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- By chance, one gets into contact with libraries or archives that do have comics collections. Not always catalogued, but at least some often referenced comics or corpora that would allow for their contextualisation turn up. This is partly due to the fact that private collections are aquired by public libraries and archives, and slowly become catalogued.This way, we can find out where specific comics are at least, how we get to the archoives or libraries where these comics are is the next challenge. Because even comics that made it into well-connected libraries are usually not available via inter-library loan.Two examples are discussed: comics from Africa at the Basler Afrika Bibliographien, the Namibia Resource Centre, Southern Africa Library in Basel, Switzerland: https://www.baslerafrika.ch/The library of the Carl-von-Ossietzky-University Oldenburg, Germany, holds in their archives a collection of around 5000 historical British comics: https://www.wonderfullyvulgar.de/
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| 8. |
- Dittmar, Jakob, 1971-
(bidragsgivare, creator_code:cre_t)
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Laser-Cut Controls for Hand-Puppet Heads : The Nordberg-Controls
- 2021
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Konstnärligt arbeteabstract
- To control the movement of the eyes and mouth of a hand puppet, some basic mechanism is needed inside the puppet’s head, obviously. The control mechanism described here consists of a standardised kit cut from MDF-board, the work consists of the ai-file for laser-cutter and mixed media made controls for hand puppet inserted into puppet head.
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| 9. |
- Dittmar, Jakob, 1971-, et al.
(författare)
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Pasts renewed in new German graphic storytelling : The past re-told in: Flix: ”Da war mal was”; Nora Krug: ”Belonging”; Mawil: ”Kinderland”; Birgit Weyhe: ”Madgermanes” and ”Im Himmel ist Jahrmarkt”.
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Narrations codify perspectives on the past. Individual narrations and opinions detail stages in that process and are part of the negotiation on the meaning of things. Comics contribute visual negotiations of the past and its artefacts. They primarily document how the past is re-told at that particular moment in time (i.e. their present). They codify generational and cultural perspectives (plural!) on the past in their narratives. They participate in negotiation of the ”floating gap of memory” (Assmann). Narratives about recent history are selectively institutionalised and documented / codified. With growing historic and biographical distance, situations, events, behaviours are re-evalued and re-told. Individual involvement in collective actions becomes re-evalued from focus on a person’s behaviour and responsibility to focusing on the collectives ethical state of mind and actions. BUT: ancestorial involvement can keep excusatory myths intact despite historic evidence against them. With growing biographical / historical distance it becomes easier to be judgemental on individual and collective responsibility: other narratives compete and complement the formation of identity and can limit dependence on particular older narratives if these are not considered crucial by involved individuals.
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| 10. |
- Dittmar, Jakob, 1971-
(författare)
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Review of Johannes C.P. Schmid, Frames and Framing in Documentary Comics
- 2022
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Ingår i: European Comic Art. - New York, Oxford : Berghahn Books. - 1754-3797 .- 1754-3800. ; 15:2, s. 138-140
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- It is generally agreed that interpretations of literature do differ and change according to reading conditions (cultural contexts), and that the reading matter remains unchanged by these changes in interpretation. In the case of comics literature, our conceptual frames change too, of course, and individual sequences of juxtaposed images narrating in whatever genre over a given amount of pages will be looked at differently again and again, too. Therefore it is instrumental to describe the visual material that actually provides the narrative in its sequence of images and their graphic frames to explain how they are understood at the time of writing - and this is what Schmid is exemplifying: his chapter 4 is describing in careful detail how individual moments in documentary material are shown from distinct points of view and how they are used to emphasize and pace these narratives. The focus on actual drawn lines and forms, on graphic frames emphasizing content and indicating choices of what is depicted leads Schmid back to detailed reflections on journalistic methods, the constant difficulty of source-validation and how these and related issues are brought to the attention of documentary comics readers.
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