The 2nd International Amsterdam Comics Conference: “Drawing Yourself In and Out of It”:

Call for Papers

“Drawing Yourself In and Out of It”: The 2nd International Amsterdam Comics Conference

Vrije Universiteit Amsterdam
15-17 November 2018

Amsterdam Comics is pleased to announce its 2nd international conference, “Drawing Yourself In and Out of It,” which will take place from 15-17 November 2018 at Vrije Universiteit Amsterdam, Netherlands.

Comprised of parallel panel sessions, keynote lectures, and a roundtable discussion, the conference aims to encourage interdisciplinary connections between comics scholars from various disciplines, comics artists, publishers, and cultural workers from museums and other heritage sites.

Keynote Speakers

  • Joe Sacco, comics artist
  • Nina Mickwitz, University of the Arts London

“So, where does a story begin? And if you are inside that story right now, in that situation and it hurts and say you can draw, then you must try and draw yourself out of it.”

-Miriam Katin, Letting It Go

To draw in can suggest an attraction, engagement, or involvement with an object, narrative, or cause, or can point to literally drawing someone or something into a work of art. To draw out can suggest an enticement to speak or act, a revelation of things hidden, or an extension of time, but can also be a literal or figural removal of one thing from another. Thus, drawing in and out speak to an engrossment in and an examination of a politics of affect.

“Drawing Yourself In and Out of It” seeks to explore the notions of drawing in and drawing out in terms of the capacity to affect and to be affected. Such a consideration allows us to interrelate the politics of affect with the reading and production of comics in a variety of genres—including biography, autobiography, memoir, and fiction, and fields—including journalism, history, and the Medical Humanities.

With this conference we aim to encourage an interdisciplinary dialogue from which to further engage with and reflect upon the power of this culturally shifting medium. We encourage papers exploring the notions of drawing in and/or out in relation to, for example:

  • Graphic Medicine
  • Art/Narrative Therapy
  • Journalism
  • (Micro)Politics and/or Art as Activism
  • Individual or Collective Memory and/or Trauma
  • Gender and/or Sexuality Studies
  • Genre Considerations (Biography, Autobiography, Memoir, Fiction, etc.)
  • Style (Abstract, Clear Line, Photorealism, etc.)
  • Poetics and/of/in the Medium of Comics
  • Comics Production Processes

Abstract Submissions

Applicants to the conference are invited to submit a 250 word abstract and short biographical note by 15 July 2018 to the organizers at Accepted participants will receive confirmation no later than 15 August 2018.

Conference Fees

Registration is €75 for full-time/tenured professionals and €50 for students/artists, which includes all conference events. The keynote lectures and roundtable are open to the public. Registration for each event is €10.

About Amsterdam Comics

Founded in 2014, Amsterdam Comics is an independent research consortium that seeks to productively clash theory with practice through several strategies, both academic and public. To read more about our aims and projects, please visit

Organizing Committee

Erin La Cour, Rik Spanjers, Freija Camps, and Nick Burman (intern). Should you have any questions, please contact us at


CLUE+ Research Institute for Culture, Cognition, History, and Heritage and Vrije Universiteit Amsterdam.

Soapbox: Practices of Listening

Call for papers – ​Soapbox: Journal for Cultural Analysis​ 1.1 “Practices of Listening”

For the first issue of ​Soapbox​, a graduate journal for cultural analysis, we invite submissions that explore listening as a critical practice. With this topic, we aim to bring together accounts of listening as both a method and object of analysis, including everyday practices and new modes of research that articulate who or what can listen and who or what can be heard.

In an age characterised by overabundant information and a cacophony of voices, attention is increasingly a matter of selection inseparable from politics. Traditional structures that amplify dominant expressions are being contested by the rise of large-scale communication platforms, which complicates the distribution of heard voices. Listening critically, therefore, calls for an examination of the spaces – digital, urban, or discursive – in which the voices of minorities are either muted or amplified.

An attentiveness to the practices of listening also takes seriously the idea that epistemological agency is not limited to the human subject, but extends across biological, technical, and inorganic bodies. By listening to the polyphonic assemblage of humans and non-humans alike, this issue aims to politicise listening not only in the sense of interpersonal communication but also as a broader cultural logic that creates platforms for some and silences others.

We invite students, PhD candidates, and young researchers to submit proposals that discuss practices of listening directed towards, but not limited to, the following themes:

– Methodologies of cultural analysis: listening in/as analysis
– Listening as extending pedagogy beyond the privileged space of the classroom
– Zoopoetics and attentiveness to practices of listening of the non-human animal
– Listening to or with inorganic matter
– Listening and the primacy of language: signs and semiotics
– Contemporary protest voices
– Delistening to dominant voices in contemporary politics
– Listening as alternative to globalized, market-oriented educational discourse
– Prosthetic listening and listening technologies
– Decolonising practices of listening
– Listening and practices of care, able-bodiedness, and hearing loss
– Active or passive listening, listening as labour or consumption
– The body, synaesthesia, the sensory; audiovisual and tactile listening
– Listening to the dead: history, spectrality, occultism and hauntology

Please submit your abstract (max 300 words) to by June 4. The full papers (3000-5000 words) are due August 27. Feel free to contact us if you have any questions.

We also welcome submissions to our website, where a variety of styles and formats is encouraged. Please get in touch to pitch new ideas or existing projects for us to feature there.

YECREA Pre-conference – ECREA 2018

Three Young Scholar Workshops: Methods, Writing and Activism

— NB! All three workshops are free of charge thanks to funding from ECREA. —

The Young Scholars Network of ECREA (YECREA) are happy to invite students and early-career scholars to a full day of workshops in connection to the 7th European Communication Conference (ECC) in Lugano, Switzerland.

Date: 31 October 2018, 9.30 – 17.00.
Submission deadline for abstracts: June 15, 2018
Number of participants: 8-10 for each workshop.
Fee: Free of charge

The pre-conference consists of three workshops, covering different theoretical, methodological and practical tasks and challenges for young researchers. Applicants can apply to all three panels or just a single panel, if they wish to.

The aim is to provide a forum of knowledge exchange between young researchers where they can present their work, receive feedback from senior scholars and take part in discussions.

1) Workshop on Activist Research: Opportunities and Challenges
31 October 2018, 9.30 – 11.30

This workshop is designed for young scholars who are either working with (digital) activists or seeking to do so in the near future. Through feedback sessions and roundtable debates, the workshop aims at equipping young scholars with both knowledge and support for their research projects.

Senior facilitators: Jule Uldam (Roskilde University) and Tina Askanius (Malmö University)

2) Workshop on Academic Writing: Writing Academic Publications Based on Your Research
31 October 2018, 12.30 – 14.30

This workshop is organised to be a communication platform that provides early career scholars with support and ideas for publication writing.

Senior facilitators: Prof Pille Pruulmann-Vengerfeldt (Malmö University) and Alessandro Nanì (Tallinn University).

3) Workshop on Digital Methods: Researching Digital Media Environments
31 October 2018, 15.00 – 17.00

New digital media platforms offer new ways of undertaking research in media and communication studies. But as the means through which data are being collected, they also need to be inquired for the ways in which they are making data accessible. This workshop session intends to give an overview of digital methods and critically investigates their

Senior facilitators: Andreas Hepp (ZeMKI, University of Bremen) and Cornelius Puschmann (Hans Bredow Institute for Media Research and Alexander von Humboldt Institute for Internet and Society)

How to apply
Submissions should be sent to with the following information:

Subject line:
Application for workshop 1, 2 and/or 3
In Email:
Name, Position, Affiliation, Research stage (e.g. Year/phd/postdoc), Research topic and progress (short description of research topic and stage, e.g. initital design, data collection or analysis).
For workshop 1: 300 word abstract on activist-research collaboration (e.g. research design, methodological challenges or findings).
For workshop 2: 400 word abstract on the difficulties academic scholars face while writing publications + three questions for the speakers related to the topic.
For workshop 3: 500 word abstract of the research project (theoretical framework, methodological approach, data collection – if applicable)

Deadline for submissions: 15 June 2018
Notification of Acceptance: 15 July 2018

All three workshops are free of charge.
This includes coffee (in workshop 1 and 3) and lunch (workshop 2)

Johan Farkas (Malmö University) – Workshop 1
Anna Zsubori (University of Leicester) – Workshop 2
Inês Amaral (University of Minho) – Workshop 3

If you have any questions, please contact

Media in Transition @Utrecht University

We are happy to announce the international conference Media in Transition (MiT) that will take place at Het Huis in Utrecht on June 26.

In four plenary sessions scholars such as William Uricchio, Henry Jenkins, Lisa Parks, Vicky Mayer, Amanda Lotz, Erkki Huhtamo, Jussi Parikka, Jennifer Holt, Lynn Spiegel, and Roberta Pearson will address topics such as datafication, changing media infrastructures, public values, participatory empowerment, and niche strategies in conversation with discussants from VPRO, Mediawijzer, EYE Filminstitute Netherlands, Netherlands Institute for Sound and Vision (Beeld en Geluid), and the European Broadcasting Union.

The registration is now open:

The conference fee is 20€ (regular)/15€ (students) and includes lunch & coffee/tea during breaks.

For more information on the conference see:

The day before, on June 25, we will also run several exciting pre-conference workshops at Utrecht University College. Participation in the workshops is free of charge and not contingent on attendance of the conference, but registration is required!

For more information on the conference and the workshops see:

We are looking forward to the event and hope to see you there!

The MiT@UU Organizing Team


Summer Film School Rotterdam

From July 18th until July 22nd Roffa Mon Amour and CINEA organize Summer Film School Rotterdam: an intensive 5-day program of lectures by renowned film experts and unique film screenings of rare film prints from various European film archives. The program is organized in collaboration with CINEA – The Flemish service for film culture. Summer Film School has been held in Belgium since 1981 and has ever since been highly appreciated by both cinema professionals and cinephiles. We are thrilled to organize the very first edition in Rotterdam!

In the first edition of Summer Film School Rotterdam we dive into the work of auteur provocateur director Brian de Palma and the artistic, literary cinema of Alain Resnais.

Sign up now and (re)discover the unique world of your favourite filmmakers!

Tickets & information

Brian de Palma & Alain Resnais: €165 (€130 Cineville, studenten)
10 Lectures and various screenings
Brian de Palma OR Alain Resnais €100 (€75 Cineville, studenten)
5 Lectures and various screenings
The lectures take place in Drijvend Paviljoen (4 minute walk from LantarenVenster). Screenings take place in LantarenVenster.

All lectures are English spoken
More questions about Summer Film School? Mail:


Brian De Palma (born 1940) is one of the most inventive film directors that America has produced. Formed in the counter-cultural scene of the 1960s, he has never abandoned his interest in formal, modernist innovation, nor his ultimately pessimistic view of society and politics. This series will take you through the major phases and tendencies of his career so far, from anarchic comedy and complex plotting through to Hitchcockian “pure cinema” and social satire. The ultimate goal of the course is to elaborate the extremely complex and thrilling “machine of sound and vision” that De Palma creates with the elements of film.

Cinema Experts

  • Cristina Álvarez López is a film critic and video maker based in Vilassar de Mar (Spain). Her work has appeared in MUBI Notebook, LOLA, and De Filmkrant, and in books on Chantal Akerman, Bong Joon-ho, Philippe Garrel, and Paul Schrader. Her website is:
  • Adrian Martin is an art critic based in Vilassar de Mar (Spain). He is the author of eight books, including the forthcoming essay collection MYSTERIES OF CINEMA (Amsterdam University Press). His ongoing archive website of film reviews, covering 40 years of writing, is at

Lectures and Screenings on Brian de Palma

  • July 18 — De Palma’s Beginnings: Art, Music and the Counter-Culture
  • July 19— The Hitchcockian Model and its VariationS
    OBSESSION (1976, 98’, DCP)
  • July 20 — Vision and Sound: The Complex Machine
    CARRIE (1976, 98’, DCP)
  • July 21 — Story, Identity and Point-of-View
    BODY DOUBLE (1984, 114’, DCP)
  • july 22 — The Langian Model: Narrative and Society as Trap
    THE BLACK DAHLIA (2006, 121’, 35mm)


Alain Resnais (3 June 1922 – 1 March 2014), alongside his early collaborators Chris Marker (29 July 1921 – 29 July 2012) and Agnès Varda (30 May 1928 – ), comprised the Left Bank Group of French filmmakers of the late 1950s and early 1960s. In keeping with Resnais’ early commitment to cine-philosophical examinations of actual horrific events, injustices and, moreover, their aftermaths of affliction, this lecture series touches on the poetic elegance of Resnais’ works that singularly express experiences of memory, time and affect. Through explorations of how Resnais’ Cinema of Time at once evokes the ephemeral and material, intimate and universal, present and past-future, this course will consider some of Resnais’ most famed mid-career works alongside his earlier short films, with and without Marker. With regard to Resnais’ cinema in general, philosopher Gilles Deleuze observes that ‘[t]he sheets of past come down and the layers of reality go up, in mutual embraces which are flashes of life: what Resnais calls “feeling” or “love”, as mental function.’ Across the five lectures of this series, Nadine Boljkovac and Patricia Pisters will explore how time and affect are, as Deleuze suggests, ‘the principal characters of [this] brain-world.’ And so, as deeply moved by and indebted to his images, this course attempts at its heart to honour the lingering beauty of Resnais’ cinema.

Cinema Experts

  • Patricia Pisters is professor of Media Studies (with a specialization in film studies) at the University of Amsterdam. Her research and teaching focuses on film-philosophy, in conjunction with neuroscience. She also writes and lectures regularly about classic film authors and about Dutch film culture.
  • Nadine Boljkovac (PhD, Cambridge / MA, York Canada / Honours BA, Toronto) is Senior Lecturer in Film at Falmouth University. She wrote a monograph examining affect and ethics via Chris Marker and Alain Resnais: UNTIMELY AFFECTS: Gilles Deleuze and an Ethics of Cinema (Edinburgh University Press 2013).


  • July 18 — Resnais’ Time-Machine
    According to Gilles Deleuze Alain Resnais’s Je ‘aime, je t’aime is one of the very few films that shows us how we live in time. In her lecture Patricia Pisters will dive into the temporal universe of Resnais’ films, and show how this experimental science fiction film brings us in a time machine of the past.
    JE ’T AIME, JE ’T AIME (1968, 94’, 35mm)
  • July 19 — Memory-ages of the world
  • July 20 — Cut and Continuum: Resnais’ jumps, layers and tracking shots through time
    PROVIDENCE (1977, 110’, DCP)
  • July 21 — A Secret Called Happiness
    LES STATUES MEURENT AUSSI (1953, 30’, 35mm)
    NUIT ET BROUILLARD (1956, 32’, DCP)
    TOUTE LA MEMOIRE DU MONDE (1957, 21’, ?)
  • July 22 — From Depths and Ashes
    HIROSHIMA MON AMOUR (1959, 90’, DCP)


CINEA highlights film heritage in all its intriguing facets and all its incarnations from the late nineteenth century until today, always from a film-historical and aesthetic standpoint: filmmakers have thousands of secrets, CINEA lets you in on them!

Roffa Mon Amour is a film platform showing cinematic talent from around the world during their annual film festival (18-29 July 2018) and Roffa Mon Amour E-Talks; a monthly program in various cinemas throughout The Netherlands. With it’s events Roffa Mon Amour celebrates the work of great filmmakers that dare to challenge their audiences to open their mind.