There are many dynamic communities of practice within the arts but not all of them can claim to have their own research culture. Consequently, many researchers become adept at co-opting theoretical frameworks, research methods, and language from other disciplines. But what happens when we use concepts and language developed elsewhere to address our own particular disciplinary concerns? Language matters, and as the Swiss
linguist Ferdinand de Saussure noted, language is not a nomenclature—it is not simply a question of linking a set of words to a pre-existing set of things; different languages
divide up the continuum of the world differently.
It follows that the ways that we engage with other disciplines potentially has a bearing on how we see, think and talk about our home discipline. This conference explores the
challenges and benefits of research that features significant interaction between two or more disciplines. It will explore [even contest] ‘trans-’, ‘cross-’ and ‘multi-’ disciplinary approaches to research.

Speaking new languages: Exploring the landscape of cross-disciplinary research

Speaking New Languages: Exploring the Landscape of Cross-Disciplinary Research

In recent years, the mainstream press in the UK and France have devoted significant attention to illustrated imagery in communicating contemporary events. In particular, the illustrated image via reportage has become a prominent tool for articulating the identities of individuals at the margin of society, for example victims of war, refugees and displaced people. This article explores this alternative method of reporting by focusing on the considerable coverage that the Jungle camp at Calais has received through reportage across the British and French press and beyond. Utilising Fuyuki Kurasawa’s essay ‘Humanitarianism and the Representation of Alterity: the Aporias and Prospects of Cosmopolitan Visuality’ (2010), the article looks at the reporting of the refugees’ situation through an analysis of illustrations presented in articles and blogs published by The Guardian, Le Monde, Libération and Arte. It examines the potential for reportage illustrations to provide ‘thicker’ representations, more complex discourses and new or alternative approaches to the construction of identities, in particular identities that constitute ‘the other’ within the contemporary European scopic regime. The article finds that the construction of the subjects’ identity follows established tropes which are related to the methods and conditions of creation, and that there is a need to query existing approaches in order to question dominant discourses of identity. Moreover, we suggest that within the case of such image making, it is the identity of the artist/publisher/reader that is ultimately asserted, within the context of a humanitarian discourse.

Illustrating the Jungle Camp: Potential and Limitations of Reportage and Identity Formation

Illustrating Identity/ies, Illustrer l'identité

Illustrating The Jungle Camp: Potential and Limitations of Reportage and Identity Formation

Zine, self and micro-publishing has seen a spectacular resurgence in the
last decade, with individuals within tight communities pushing the boundaries of the practice in terms of form, content and process.

This paper will examine ways in which this reinvestment of illustrative authorship
has been stimulated by the iterative and performative aspects of zines, self and
micro-publishing, through the discussion of varied publications’ genesis with their
illustrators – including my own self-published book The House.

This paper will consider how performance underpins both the motivation and
creative process of such publications so as to highlight potential contributions of
the scene to wider illustrative authoring practices.

CONFIA 2018: International Conference on Illustration & Animation

Performative authorship in zine, self and micro-publishing

This paper examines notions of truth in relation to fictive modalities and discourses presented in animation and constructed imagery. It explores how notions of minimal departure and recentering of the audience are utilised within fictive depictions as narrative devices that allow the viewer to integrate truth statements into an understanding of their own world. 

Drawing upon discussion of documentary animation, it considers how constructed images utilise a range of modalities in order to posi- tion discourses and make statements about reality that can affect the audience through emotional connections. Following this, the paper con- siders Lewis’ and Marie-Laure Ryan’s examination of possible worlds within literary texts. It examines how constructed images negotiate the telling of truths via truth clusters, and how the recentering of audiences in relation to the fictive worlds through those clusters allows for truth to emerge in the bridging between their world and the fictive world. 

The paper proceeds to question whether texts combining low modalities or high fictionality are able to present truths through a collusion between the audience and authors’ worlds. It explores this notion through an analysis of the animated film Don’t Hug Me I’m Scared and Scavengers. The paper suggests that such texts utilize playful relocation and recentering towards fictive worlds in order to articulate truth claims about our real-world experiences, and can do so through the utilization of lower modalities and significant departures from such experiences.

Gabrielle Cariolle

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