Comics Scholars Survey Results, November 1995
compiled by Peter M. Coogan
Introduction.
In Comic Art Studies #46 I offered a survey of comic
scholars and presented the results at the Popular Culture Association
and American Culture Association Conference (the PCA), held in
Louisville, Kentucky, March 18-21, 1992. I presented my findings in
one session, and then hosted a round-table discussion of the survey
in another session. The round-table turned out much better than I had
expected; we had a full room, and held a serious discussion for the
full hour and a half. An earlier version of the following was also
published in Comic Art Studies #47.
We opened the round-table with remarks by Thomas Inge, Blackwell
Professor of the Humanities at Randolf-Macon College, Julie Ratliff,
professor of English at Ball State, and myself, graduate student in
American Studies at Michigan State, about the general state of comics
scholarship today.
Dr. Inge commented on some of the things we don't need in comics
scholarship. We shouldn't treat comics as if they're a source of
empirical data about the culture; thus a study of the height of women
in 20's comic strips won't tell us anything about the height of women
in the 20's. He also said that methodologies adapted from other
fields, although useful, won't help us get to the root of what makes
comics distinctive. We shouldn't try to prove that Maus, for example,
is as important as The Sound and The Fury. On the other side, Inge
stated that we do need biographies of creators, just like all other
fields; and that, as yet, no definitive history of the comic strip
exists. He added that many creators of the Golden Age are still
living, and if we act quickly we can collect and preserve their
valuable papers. Finally, Inge closed with a call for a serious
journal for comics studies.
Ms. Ratliff concurred with Dr. Inge's comments and added that the
field suffers from a lack of resources and access to materials, as
well as the fact that we really have no criticism which is our own
(i.e. we have to borrow from other fields). She mentioned that she
has come across many articles lacking theoretical bases and written
by scholars woefully unfamiliar with the medium and the field. She
cited Richard M. Turner's paper "Metacomics" (presented at the 1991
convention) as the kind of responsible work the field needs more
of.
While agreeing with everything Tom and Julie said, I decided to
focus on some of the positive features of the state of comics
scholarship. I see a great and rising interest in comics studies,
especially at the graduate and undergraduate levels. There seems to
be a coming generation of scholars interested in centering their
careers in the field. With the increase of multi- and
interdisciplinary programs and departments, interest in and
acceptance of comics studies should grow, due to the
inter-disciplinary nature of comics themselves. Holding annual Comic
Arts Conferences at the major comic book conventions will hopefully
provide a place for scholars to gather and share ideas with
professionals.
On to the survey. I plan to constantly revise and update the
survey results as new responses come in. Contained here are the
responses of 26 scholars and some of my own thoughts in addition. The
survey questions have been revised and reordered based on the various
comments of the respondents and some thought I put into the
questionnaire's design. I would like to run the survey every year or
two and keep it updated as barometer of comics scholarship. Hopefully
my survey will serve as a collection of the issues of comics
scholarship and a springboard for future discussions.
You may want to refer to the survey to follow along. Pertinent
questions are included below. The open-ended nature of my questions
made collating the results difficult, so for that reason alone I'm
actually glad that 200 responses didn't come in (although it would
have been an interesting problem). I'd like to thank all the
respondents, especially those I quote frequently. Please click on the
desired section heading to see current results:
-
A. Defining the medium
- A.1. What is the definition of comics? and what is included in
the term comics? (comic books, comic strips, single panel,
editorial cartoons, etc.)
- A.2. Are comics unique? and if so, why?
- A.3. What are the particular strengths and weaknesses of the
medium?
- A.4. Do we need a new term?
- A.5. What is included in the term comics? (comic books, comics
strips, single panel, editorial cartoons, etc.)
- A.6. What are the extremes, in terms of balancing words and
pictures, that are acceptable as comics?
-
B. History
- B.1. What histories have been written?
- B.2. What do you like or dislike about these histories?
- B.3. What kind of histories need to be written?
- B.4. What specific topics need histories written about
them?
- B.5. What age are we in, and is ages a good way to continue to
define historical periods? (Golden, Silver, Marvel, Bronze, new,
independent, Baroque, etc.)
-
C. Industry
- C.1. What about the industry has been and needs to be studied?
(independent publishers, censorship, creator's rights, etc.)
- C.2. How is the comics industry similar to and different from
other media industries (t.v., film, recording, etc.) and how do we
know this?
-
D. Audience
- D.1-2. What studies have been done and what methodologies
work?
-
E. Gender
- E.1. What work needs to be done on gender issues?
- E.2. Gay and Lesbian issues.
- E.2.a. What gay/lesbian comics are there?
- E.2.b. What about gay/lesbian professionals has been and needs
to be done?
- E.2.c. How have gays and lesbians been portrayed in
comics?
-
F. Genre/Formula
- F.1. How can genre/formula theory be applied to comics?
- F.2. What impact have comics had on genre/formula in other
media? and what impact has genre/formula in other media had on
comics?
- F.3. How does genre/formula work in comics? and which ones work
better or worse?
- F.4. Are the differences between comic books, comic strips, and
the various kinds of cartoons generic differences or differences of
media? What terms can be used to discuss these differences?
-
G. Comics As An Art Form
- G.1. What questions are there about comics as an art form?
- G.2. What is at stake in claiming the status of art for
comics?
- G.3. What can we learn from the movement of other media into
the status of art?
-
H. Superheroes
- H.1. What about superheroes needs to be studied?
- H.2. What approaches or methodologies work?
-
I. Academia
- I.1. Where specifically are comics being studied, taught, and
archived?
- I.2. How are comics being used in education (what is being
taught, how, and what materials are being used)?
- I.3. How can libraries be encouraged to build comics
collections?
-
J. Grants/Scholarships
-
K. Organizational
- K.1. What comics related organizations exist?
- K.2. In what other organizations and associations are comics
studied, and which ones accept comics related papers at their
meetings?
- K.3. Would you support a comics organization or newsletter to
inform you about what is being studied and done?
-
L. Bibliographic/Indexing
- L.1. What bibliographies and indexes exist?
- L.2. What publi cations need indexing?
- L.3. Who publishes bibliographies and indexes?
-
M. Publications
- M.1. Where can comics scholarship be published?
- M.2. Is there a need for a journal devoted to comics?
-
N. Criticism
- N.1. What would a rhetoric or poetics of comic contain?
- N.2. Do we need a rhetoric or poetics of comics?
- N.3. What makes for good criticism?
- N.4. Where can Scott McCloud's Understanding Comics be improved
on? What did he overlook or deal with inadequately? (This question
can be extended to encompass Will Eisner and R.C. Harvey's
treatises).
- N.5. Which comics creators have written or are writing
knowledgeably about the work of other creators? If not
professionally published, where can these writings be found? In
fanzines? On the Internet?
-
O. Scholarship
- O.1. What contact do and should scholars have with creators and
other professionals?
- O.2. What do creators think needs to be done?
- O.3. Recommended reading:
- O.5. How can comics (and comics scholarship and criticism)
attain the respectability of film, literature, and art (and their
scholarship and criticism), and should comics (scholarship and
criticism) try to attain that?
-
P. Other
- P.1. What five things would help you most as a comics
scholar?
- P.2. What five projects would you like to see done, like to
help with, or like help with?
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