[Commlist] CFP for IJFMA - "Do Comics Have Electric Dreams?"

*Do Comics Have Electric Dreams? Open Call for Papers IJFMA Vol. 11 No. 
1 (2026)*

The editorial board of the International Journal of Film and Media Arts 
is pleased to announce an open call for submissions for Vol. 11 No. 1 
(2026) Do Comics Have Electric Dreams? Comics and Technology, in 
collaboration with the two guest editors Marco Fraga da Silva and Pedro 
Moura.

Considering media as “socially embedded sites for the ongoing 
negotiation of meaning” (Lisa Giltman), their relationship with 
technologies has always been one of co-evolution. Their 
interconnectedness is so profound and varied that it has led to a 
plethora of theoretical approaches with multiple specific, 
differentiated notions, such as multimedia, intermedia, transmedia, 
cross-media, each with their own valence and focus.

Stemming from multiple strands such as narrative drawing, caricature, 
press and satirical literature, comics (considered as a whole, and not 
as specific textual formats such as strips, wordless novels, comic 
books, graphic novels, tankonbon, etc.) have emerged as a medium of and 
on its own. From its early 19th century stages up to today, and within 
multiple national and global traditions, comics have been considered 
under many guises, such as a form of art, an IP factory, or a technology 
onto itself, able to be employed for multiple discourse purposes or 
having some of its elements appropriated by both art and commerce to 
convey specific meaning-making dimensions, e.g., “crass popular culture” 
in Roy Lichtenstein appropriative art, or the use of the split screen in 
Ang Lee's 2003 Hulk to represent parallel narration and traumatic 
dissociation.

Historically speaking, print media comics have established immediate 
mutual relationships with several other media in their earliest 
appearances, either through adaptation (e.g., L'arroseur arrosé, Ally 
Sloper, radio serials), early transmediation (e.g., L. Frank Baum's 
World of Oz), or remediating them into its' own formal specificities 
(page composition, narrative voices, technology representation and 
social-cultural negotiation, and so on). Today there are multiple 
challenges, thanks to the increasing use of comics as parts of 
transmedia projects, the usage of multiple digital devices, the 
emergence of AI platforms (such as Neural Canvas and ComicsMaker.ai, 
among others), the good fortune of webtoons as smartphone-friendly 
texts, and so on. As new or adapted technologies and media enter the 
fray, so do themes and topicalities, reading protocols, changes in 
styles and engagement, etc. One fundamental question could arise: are 
comics simply yet another curtailment by the “demands of capitalism” or 
can they contribute to a “radical attention” (Julia Bell) in our lives?

The International Journal of Film and Media Arts is an open access, 
promoted by the FilmEU - European University and Film and Media Arts 
Department - Lusófona University, Lisboa, Portugal. IJFMA is a 
semiannual publication focusing on all areas of film and media arts 
research. Since June 2020, IJFMA was accepted for indexation in Scopus 
from Elsevier, reaching the Q2 level in Visual Arts.

While chapters on the intermedial relationships between comics and 
traditional and historical media (press, poster art, theatre, animation, 
cinema, radio, television) are most welcome, or even a broader sense of 
“media archeology” (Jussi Parikka), we are looking forward for 
contributions that address late 20th and 21st century “new” media. From 
video games, internet-native media, interactive streaming, geolocation 
storytelling, pod/videocasting, or others, while considering issues of 
digitisation, the use of digital tools, Artificial Intelligence (AI) or 
Machine Learning (ML) assisted production, etc., that negotiate with the 
medium of comics. The facets of creation, promotion, distribution and 
reception are equally important, but so are those of digital fandom and 
participatory culture, web-based archives, and conservation, 
file-sharing, piracy, and other critical practices.


We wish to understand the place of comics within a broad material, 
cultural and political context of the contemporary digital and 
social-media-suffused world we live in. How do comics inform, interact, 
or mirror such a world? What is their role in communicative approaches 
or the entertainment industries? What is their weight within transmedia 
franchises? What is their impact on the economic field? How have new or 
newly integrated technologies changed them and the way we consume them?

Here are some possible topics of discussion:

New digital production and distribution options for comics;
Affordances and hindrances of digital tools for comics-creation, 
including web-based, transmedia worldbuilding tools;
Ethical, political, and creative impacts on the use of ML and AI in 
creation and reception, and changes in the scalability of comics styles 
and production;
Repurposing of (traditional) comics in digital platforms and new ways of 
fashioning spectatorship via new digital-native or influenced texts, 
technologies and institutional reading contexts;
Changes in storytelling, materiality and the readerly experience brought 
forth by digital means (motion, animation, interactivity, sound, 
colouring, lighting, augmented reality);
Comics in transmedia and in convergence culture;
The media/tech, economic, or narratological dimensions of digital 
comics, webcomics, webtoons, etc.;
The renegotiation of comics' identity as “print media” with the 
emergence of digital-native comics forms;
Comics as Big Data: computational analysis of large corpora;
We are looking forward to collecting several chapters (minimum: 7 500, 
maximum: 40 000 characters)

Abstracts to be submitted by 2025 February 21st.

Please provide two Word documents (.doc) with:

ABSTRACT, no longer than 500 words with 5 keywords.
The abstract should not have any reference to the authors or the 
institution they belong to. The authors must ensure that their 
manuscripts are prepared in such a way that they do not reveal their 
identities to reviewers, either directly or indirectly.

BIO, no longer than 50/70 words. Name, Email address and institutional 
affiliation.
Please submit your abstract, here: 
https://revistas.ulusofona.pt/index.php/ijfma/about/submissions 
<https://revistas.ulusofona.pt/index.php/ijfma/about/submissions>

When submitting, include the Open Call for which your paper should be 
reviewed.

Submissions will be reviewed by at least 2 peer reviewers. Accepted 
abstracts will be given guidelines for the preparation and submission of 
the final text for the 2nd round of double-blind peer reviews.

No fees are requested for submission or processing.

For inquiries: (anna.coutinho /at/ ulusofona.pt) 
<mailto:(anna.coutinho /at/ ulusofona.pt)>


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