July 23, 2017
2nd "ComixStudies" conference
Our enthusiasm is an unstoppable force! The "ComixStudies" project and the Comics Library of Saint Petersburg invite you to the second "ComixStudies" conference on July 23, 2016.

On this event you will be able to listen to 7 reports regarding significant issues of Russian coics studies. We will continue to discuss similarities between comics and the lubok, the past and the future of Russian manga, and the inclusion of brands in the narrative of comics. Also we will remember the wild age of Russian comics of 1980-90s, we will think over the way of telling Alan Moor's "The killing joke", and why do serialized comics become more like a family to us.
Address of the event:
Comics Library of Saint Petersburg, 7th Krasnoarmeyskaya str., 30.

July 23, 2017 (12:30 - 18:00)

Developing Comics Studies in Russia
Alexey Pavlovskiy
Founder of the "ComixStudies" project.
"History of comics in Russia: the reflection on the book of Jose Alaniz «Komiks: Comic Art in Russia» (2010)", "Comics studio "Mukha" (1990-95) and "the Wild Age" of Russian comics".
Julia Tarasyuk
Curator of the Comics Library of Saint Petersburg
"The Almanac of Russian manga" (2011-16): between comics and manga"
Julia Veretnova
Museum of the lubok and the of naïve art
"Drawn stories in the modern lubok. Moscow folk pictures of Sergey Trubnikov".
Dmitry Tretyakov
"Serialized comics as a family surrogate".
Tatiana Kiseleva
Independent researcher
"The inclusion of brands in the comics narrative"
Daniil Pleshak
"How to tell "The Killing Joke". The narrative anatomy".
Valentina Sviridova
"The role of comics in the kids' magazines of Russia and Japan (based on the "Smeshariki" and "Mebae" magazines)"
Conference schedule
Saturday, June 23, 2017 (12:30 - 18:00)
12:30 - registration
13:00 - Welcome speech of the organizers,

J.B.Tarasyuk (curator of the Comics Library of Saint Petersburg).

A.F. Pavlovskiy (ComixStudies) History of comics in Russia: the reflection on the book of Jose Alaniz «Komiks: Comic Art in Russia» (2010)

Historiography is our everything, especially in the case of the Russian comics' history. The«Komiks: Comic Art in Russia» book of the American researcher Jose Alaniz, which was published by "The University Press of Mississippi" in 2010. It is still the only monograph regarding this issue. Jose Alaniz has started to study Soviet and Russian comics in 1997 and in this book he summed up several important conclusions concerning the tragic fate of the "ninth art" in Russia. This report is dedicated to the way the author of "Komiks: Comic Art in Russia" creates the umbrella brand of the Russian comics and recreated its image for the American readers.

13:30 – Workshop №1. Comics in Russia. Russia in comics.

J.V. Veretnova (Museum of the lubok and the of naïve art) Drawn stories in the modern lubok. Moscow folk pictures of Sergey Trubnikov.

The discussion about the differences and similarities between the drawn stories in comics and lubok is continued. The introspection of Russian folk pictures (lubok) by the professional art in the XX century, when lubok has already disappeared from the traditional Russian culture, discovered the artistic potential of a printed picture with a text and an image as a universal art form. The contemporary artistic lubok includes many artists, who work as stylizers and arrangers of folk pictures. The name of Cergei Trubnikov is well-known to experts and to those who love and value Russian lubok. However the artist himself calls his works only "Moscow folk picture" so to avoid the mainstream word "lubok".

J.B. Tarasyuk (Comics Library of Saint Petersburg). The almanac of Russian manga (2011-16): between comics and manga

Already for five years (2011-16) "The almanac of Russian manga" published by the "Comics factory"tries to promote Russian style in Russia. This is a unique release for the local market, and now it already has 12 volumes. The article will review the most prominent works, which were published in this volumes. And after this analysis the speaker will try to answer the question: whether these stories are closelu related to manga, what unites them and do they have the authenticity? What is "Russian manga"? Imitation or symbiosis? And what are the perspectives of this style?

A.F. Pavlovskiy (SPbSU) Comics studio "Mukha" (1990-95) and "the Wild Age" of Russian comics.

Comics studio "Mukha" was found in the 1990 by the artist Vitaliy Mukhametzyanov. It became the prominent phenomenon not only for the comics culture of Ufa but also for all children of the post-Soviet Russia. Together with such successful creative associations as the "KOM" studio (Moscow) and "Veles" (Ekaterinburg) "Mukha" comics determined the image of Russian comics' "the Wild Age". The absence of the developed comics industry was the heritage if the USSR's cultural politics. And "Mukha" is still interesting for researchers as a bald experiment of publishing drawn stories in the country where until the late 80s no one could ever imagine comics about highjacker mutants from Chernobyl, withers killing werewolves, and comics which were drawn specially for cockroaches.

15:00 – refreshment break

15:30 - Workshop №2. Comics Studies: theory and practice

V.V. Sviridova (RSUH) The role of comics in the kids' magazines of Russia and Japan (based on the "Smeshariki" and "Mebae" magazines)

The steady market for kids' comics is being formed quite fast in Russia and the audience grows. However this phenomenon of the Russian market is researched very sparsely. But Japan on the contrary has advanced quite a lot in this field. The aim of the article is to determine the role of comics and its potential for development in the publishers of juvenilia in Russia and in Japan. Magazines for children are analyzed by economic, accounting, managerial, objective, and content-related factors. Entertainment or socialization. Each country makes its own choices.

T.V. Kiseleva (independent researcher). The inclusion of brands in the comics narrative.

The main goal for adding brands to the comics is to make it seem more real. Quite often certain brands become symbols of the epoch and that is why it is very hard to avoid them in any fiction, which is aimed to recreate a necessary time period. The mention of real, changed or simply invented name is not so much for profit but mostly it is an artistic device. It is used a lot in the American modern mainstream comics, in the classic European works, and in the independent comics from all over the world thus it is an important issue for comics analysis.

D.G. Pleshak (SPbSu) How to tell "The Killing Joke". The narrative anatomy.

Comics "Batman: The killing joke" (1988) written by Alan Moore and drawn by Brian Bolland is considered to be one of the best graphic novels in history despite being quite short. The speakers makes an attempt to analyze how the narrative is constructed in the novel, how the text and the image interact with each other, and what set of features allows creating of a finished plot of the comics.

D.V. Tretyakov (EEIP). Serialized comics as a family surrogate.

The article deals with the phenomenon of a "serialized" work in the context of "Spider-man", "Ranma", and "Batman" comics series. Series are mostly associated with television in the XXI century, but the serialization is manifested more than anywhere else in comics series, which are united by a one character or a one world. Due to the constantly rebooted series with a continuous plot comics got a certain attitude from their readers (percipients). The article not only raises the question what features are typical for a "series" but also what the key elements are of becoming personally attached to the series. The assumption is that the slowly disintegrating institution of the family as a minimal, stable, and easy to understand social group is exchanged for the pack of perceived series.

18:00 – closing address, closing of the second "ComixStudies" conference

RSUH - Russian State University for the Humanities
SPbSU – Saint Petersburg State University
EEPI – Eastern European Psychoanalytic Institute
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