<\/p>\n
\n\t\t\t\t\t\tExpected response for the<\/span><\/span> 15\/05\/2022<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tResponse type<\/span><\/span> Contribution compl\u00e8te<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tExpected contribution type<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tPublication name<\/span><\/span> Sur le journalisme <\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinators<\/h3>\n\n\n\t\t\t\t\t\t\tOlivier<\/span> Koch<\/span>, Universit\u00e9 Nice-Sophia Antipolis<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, koches1@yahoo.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tPablo <\/span> Turnes<\/span>, Universidad de Buenos Aires<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, blopaturnes@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tFabrice <\/span> Preyat<\/span>, Universit\u00e9 libre de Bruxelles<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, fpreyat@ulb.ac.be<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nReference websites <\/h3>\n\n\n\t\t\t\t\t\t\tWebsite of the review<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nPresentation<\/h2>\nSince the 2000s, graphic journalism has enjoyed growing editorial success, internationally. Authors have worked to renew a unique type of graphic narrative rooted in reality, which offers an alternative to the mass media by dealing with the problems of dominated actors (migrants, LGBTQ+ communities, dispossessed farming communities, etc.). Graphic reportage developed significantly in the United States in the 1960s-1970s, and in France between 1969 and the 1980s, in publications affiliated with the counterculture. This development has taken on a variety of formats in extremely different publishing landscapes, from alternative production to that of major publishers or media outlets. In France alone, through the well-known phenomenon of editorial concentration of M\u00e9dia-Participations in particular, L’Association, La Revue Dessin\u00e9e or XXI, to name a few, or the Gallimard and Dupuis publishing groups, all contributed to the dissemination of the genre. They have published reports on “serious” subjects (wars, genocides, corruption of the elites, trade union struggles, etc.), against the reputation of comics, which had long been associated with fiction and teenage audiences.<\/p>\nThe development of graphic reportage is the result of the convergence between the industrial strategies of publishers and the commitment of authors to practicing journalism “differently”. In recent history, graphic journalism has continuously contributed to increasing the popularity of comics, characterised by the acquisition of a ‘new cultural legitimacy’ and to renewing the readership in so-called ‘non-fiction’ editorial niches (BERTHOU, 2016). Due to the difficult economic context of the written press, and in view of the growing popularity of comics, several media outlets have resorted to graphic reporting as a means for editorial revaluation and have used its appeal to attract new audiences. At the same time, the field of comics has benefited from a process of legitimisation thanks to the repositioning of ‘this medium, often discredited in terms of factuality, credibility and verifiability’ (BOURDIEU, 2012, our translation).<\/p>\nThis editorial offer depends on authors who practice ‘alternative’ journalism, at the margins of dominant media industries (DABITCH, 2009), through the subjects covered and the type of production – reporting and investigation – what is akin to a certain nobility of the profession(RUELLAN, 2007). First, graphic reportage lies on the margins of a large-scale production of news, generally published just-in-time in short formats, materialized in single-use consumables (such as free newspapers) and written by \u201cdesk professionals\u201d. On the contrary, graphic reportage is generally long format and published on mediums intended to be kept (mooks or albums). It is based on in-depth research and immersive investigation (DOZO, 2010), which can last a few weeks up to several years. Second, graphic reportage breaks away from some of the usual conventions of objectivity. It actively participates in deconstructing the myth of the \u2018neutral\u2019 journalist, which remain predominant in the profession (LEVEQUE, 2010). Indeed, many reporter-authors (\u201creport- authors\u201d) are featured as characters in the narratives: self-representation is used as a device to represent individual perceptions of the world, inform on the context(s) in which information is gathered, and share personal interpretations and hesitations. Such staging of the narration contributes to practising forms which can be related to \u201cjournalism of doubt\u201d (MARION, 2021) and activist journalism (LESAGE, 2017). Finally, many reporters sit on the outskirts of the profession and can sometimes be considered (or consider themselves as) \u201coutsiders\u201d (DABITCH, 2009): many authors (at least when starting out) do not have academic training in journalism nor hold a press card, or seem to worry much about joining the professional community of \u2018we, the journalists\u2019.<\/p>\nEmbracing the ambitions of narrative journalism, and combined with a subjectivity openly asserted, graphic reportage inscribes itself in the legacy – at times directly claimed by authors \u2013 of models such as new [new] journalism, gonzo journalism, literary journalism or slow journalism, and call upon renown authors as diverse as Hunter S. Thompson, Mark Krame or Albert Londres. In recent years, graphic journalism has developed through processes of importation and transformation of narrative and critical formats, hence creating dynamics of transnationalizion of models.<\/p>\nThis issue of Sur le journalisme, About journalism, Sobre jornalismo<\/strong><\/em> aims to examine the alternatives offered by graphic journalism by considering its narrative and editorial singularities, its relationship to the profession, and the industrial strategies on which it depends. To this end, we intend to explore the genre through an interdisciplinary approach, focusing on three distinct axes, which build on approaches ranging from post-classical narratology and discourse analysis to sociology, cultural industry studies and history of media and journalism.<\/p>\n1. Hybridizations, narration and aesthetic creation<\/h3>\nThis area of focus is an invitation to question the modalities and specificities of narrative processes in graphic reportage, and situate it in the historical landscape of media narratives.<\/p>\nGraphic reportage finds its contemporary roots in American graphic journalism from the 1960\u2019s and 1970\u2019s (S. Silverstein, W. Eisner) and the French alternative press that developed during the same period and until the 1980\u2019s (with authors such as G\u00e9b\u00e9, Cabu, Teul\u00e9, etc.). However, the genealogy of the genre, which suggests first appearances in French, English or American illustrated periodicals in the 19th century, remains widely unknown (SMOLDEREN, 2012; LEVRIER & PINSON, 2021) and requires further study. What narrative models do graphic reportages resort to, in particular the first epigones of the genre from the 19th-20th centuries? What are the current mechanisms of differentiation, and graphic and discursive strategies used by graphic reportage to stage the witnessing and the investigating conducted to capture \u201creality\u201d (cf. P.-A. DELANNOY, 2007)? How is \u201ccompetition\u201d established between fictional (or self-fictional) regimes, media regimes (intermedia dialogues or transmedia narration1<\/strong>) and factual writing in narratives where information is often perceived as antagonistic to storytelling? When reporting on physical and psychological violence, what resources do they use to produce testimonial evidence, in order towrite the unspeakable, to depict the \u2018un-showable\u2019, and to respect the victims when depicting the tragic events? How is graphic journalism perceived in terms of the informative discourse it produces and the aesthetic judgment of the procedures it uses?<\/p>\nNote 1 <\/strong>With borrowings from photography, graphic arts, animated reporting, webdocumentary, television…<\/p>\n2. Margins, identities, domination<\/h3>\nThis area of focus is an invitation to examine the professional challenges and definitions inherent to the authors\u2019 approaches to graphic journalism, as well as the choices of themes and the representations of marginal (or dominated) actors and discourses (also in terms of gender, diversity, etc.).<\/p>\nGraphic reportage lies on the margins of a dominant production of information, offering alternatives that need further studying (such as what the role of the \u201coutsider\u201d in the journalistic field is, for instance). What alternatives does it actually offer from predominant and hegemonic discourses? Does graphic journalism allow marginalized topics and voices to emerge, does it showcase individuals or groups usually un(der)-represented, or does it recycle topics already investigated by other long-form productions (online, on television, or in books written by journalists)? Do the authors participate in the hierarchization of the different forms of journalism, claiming on one hand to hold the \u2018outsider\u2019 position and, on an other hand, to embody some of the noblest traits of the profession?<\/p>\nAs it stands, the sociology of author-reporters, their positioning in or vis-\u00e0-vis the rest of the profession (status, identity, income), and their working conditions, is still very incomplete. Knowledge would be gained through the elaboration of social biographies of authors, an examination of their curricula and trajectories, a study of specific professionalization dynamics, as well as the characteristics of the division of labor between the different stakeholders of graphic reportage, such as publishers, scriptwriters, reporters, graphic artists, and \u201ccomplete authors\u201d (B. PEETERS, 2017).<\/p>\n3. Industrial and editorial strategies<\/h3>\nThis area of focus is an invitation to analyse the development of graphic journalism through the prism of the strategies implemented by newspapers and comic books publishers in graphic journalism. How do editorial strategies and investments made by press editors and graphic narrative publishers \u2013 which have grown massively in recent years – impact the marginality of the genre? What are the economic models (alternative publishing vs. mass publishing) of graphic reportage production, which has experienced, since the 1990s-2000s, an increasing editorial concentration and consolidation of niche products, illustrated by the case of graphic novels? What are the strategies of differentiation, valorisation and legitimisation in the field of graphic reportage publishing which can be observed amongst alternative publishers and major publishing companies? What role does the aestheticization, or even the artialisation, of information play in these strategies? How is commercial competition between publishers impacted? What is the share of self-published narratives within the overall production of graphic reportages? Which audiences are now targeted, given the inclusion of non-fiction to the genre?<\/p>\nFaced with narratives written \u201con a human scale\u201d (BOURDIEU, 2012), this issue will aim at identifying how graphic reportage, considered as a field of hybridization and mediation of the real, impacts graphic narration and how graphic narration impacts journalism.<\/p>\nCalendar and Submission<\/h2>\nThe deadline for submitting the full manuscripts (30 to 50,000 characters, including notes and bibliography) is May 15, 2022, at : editors.surlejournalisme@gmail.com<\/a><\/p>\nManuscripts may be written in English, French, Portuguese or Spanish. Double blind review. You can contact the editors in charge for any information request:\nOlivier KOCH koches1@yahoo.fr<\/a> Pablo TURNES blopaturnes@gmail.com<\/a> Fabrice PREYAT fpreyat@ulb.ac.be<\/a><\/p>\nAbout journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\nReferences<\/h2>\nBerthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\nBourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication […]<\/p>\n","protected":false},"author":1172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,130],"tags":[685,258,264,682],"thematique":[582,574],"sfsic":[],"class_list":["post-22265","post","type-post","status-publish","format-standard","hentry","category-article-en","category-cfp-publication","tag-graphisme-en","tag-image-en","tag-journalism","tag-medias-en","thematique-images-cinema-audiovisual-media-and-cultural-industries","thematique-media-and-journalism","wp-sticky"],"acf":[],"yoast_head":"\nGraphic journalism<\/title>\n<meta name=\"description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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\n\t\t\t\t\tResponse type<\/span><\/span> Contribution compl\u00e8te<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tExpected contribution type<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tPublication name<\/span><\/span> Sur le journalisme <\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinators<\/h3>\n\n\n\t\t\t\t\t\t\tOlivier<\/span> Koch<\/span>, Universit\u00e9 Nice-Sophia Antipolis<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, koches1@yahoo.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tPablo <\/span> Turnes<\/span>, Universidad de Buenos Aires<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, blopaturnes@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tFabrice <\/span> Preyat<\/span>, Universit\u00e9 libre de Bruxelles<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, fpreyat@ulb.ac.be<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nReference websites <\/h3>\n\n\n\t\t\t\t\t\t\tWebsite of the review<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nPresentation<\/h2>\nSince the 2000s, graphic journalism has enjoyed growing editorial success, internationally. Authors have worked to renew a unique type of graphic narrative rooted in reality, which offers an alternative to the mass media by dealing with the problems of dominated actors (migrants, LGBTQ+ communities, dispossessed farming communities, etc.). Graphic reportage developed significantly in the United States in the 1960s-1970s, and in France between 1969 and the 1980s, in publications affiliated with the counterculture. This development has taken on a variety of formats in extremely different publishing landscapes, from alternative production to that of major publishers or media outlets. In France alone, through the well-known phenomenon of editorial concentration of M\u00e9dia-Participations in particular, L’Association, La Revue Dessin\u00e9e or XXI, to name a few, or the Gallimard and Dupuis publishing groups, all contributed to the dissemination of the genre. They have published reports on “serious” subjects (wars, genocides, corruption of the elites, trade union struggles, etc.), against the reputation of comics, which had long been associated with fiction and teenage audiences.<\/p>\nThe development of graphic reportage is the result of the convergence between the industrial strategies of publishers and the commitment of authors to practicing journalism “differently”. In recent history, graphic journalism has continuously contributed to increasing the popularity of comics, characterised by the acquisition of a ‘new cultural legitimacy’ and to renewing the readership in so-called ‘non-fiction’ editorial niches (BERTHOU, 2016). Due to the difficult economic context of the written press, and in view of the growing popularity of comics, several media outlets have resorted to graphic reporting as a means for editorial revaluation and have used its appeal to attract new audiences. At the same time, the field of comics has benefited from a process of legitimisation thanks to the repositioning of ‘this medium, often discredited in terms of factuality, credibility and verifiability’ (BOURDIEU, 2012, our translation).<\/p>\nThis editorial offer depends on authors who practice ‘alternative’ journalism, at the margins of dominant media industries (DABITCH, 2009), through the subjects covered and the type of production – reporting and investigation – what is akin to a certain nobility of the profession(RUELLAN, 2007). First, graphic reportage lies on the margins of a large-scale production of news, generally published just-in-time in short formats, materialized in single-use consumables (such as free newspapers) and written by \u201cdesk professionals\u201d. On the contrary, graphic reportage is generally long format and published on mediums intended to be kept (mooks or albums). It is based on in-depth research and immersive investigation (DOZO, 2010), which can last a few weeks up to several years. Second, graphic reportage breaks away from some of the usual conventions of objectivity. It actively participates in deconstructing the myth of the \u2018neutral\u2019 journalist, which remain predominant in the profession (LEVEQUE, 2010). Indeed, many reporter-authors (\u201creport- authors\u201d) are featured as characters in the narratives: self-representation is used as a device to represent individual perceptions of the world, inform on the context(s) in which information is gathered, and share personal interpretations and hesitations. Such staging of the narration contributes to practising forms which can be related to \u201cjournalism of doubt\u201d (MARION, 2021) and activist journalism (LESAGE, 2017). Finally, many reporters sit on the outskirts of the profession and can sometimes be considered (or consider themselves as) \u201coutsiders\u201d (DABITCH, 2009): many authors (at least when starting out) do not have academic training in journalism nor hold a press card, or seem to worry much about joining the professional community of \u2018we, the journalists\u2019.<\/p>\nEmbracing the ambitions of narrative journalism, and combined with a subjectivity openly asserted, graphic reportage inscribes itself in the legacy – at times directly claimed by authors \u2013 of models such as new [new] journalism, gonzo journalism, literary journalism or slow journalism, and call upon renown authors as diverse as Hunter S. Thompson, Mark Krame or Albert Londres. In recent years, graphic journalism has developed through processes of importation and transformation of narrative and critical formats, hence creating dynamics of transnationalizion of models.<\/p>\nThis issue of Sur le journalisme, About journalism, Sobre jornalismo<\/strong><\/em> aims to examine the alternatives offered by graphic journalism by considering its narrative and editorial singularities, its relationship to the profession, and the industrial strategies on which it depends. To this end, we intend to explore the genre through an interdisciplinary approach, focusing on three distinct axes, which build on approaches ranging from post-classical narratology and discourse analysis to sociology, cultural industry studies and history of media and journalism.<\/p>\n1. Hybridizations, narration and aesthetic creation<\/h3>\nThis area of focus is an invitation to question the modalities and specificities of narrative processes in graphic reportage, and situate it in the historical landscape of media narratives.<\/p>\nGraphic reportage finds its contemporary roots in American graphic journalism from the 1960\u2019s and 1970\u2019s (S. Silverstein, W. Eisner) and the French alternative press that developed during the same period and until the 1980\u2019s (with authors such as G\u00e9b\u00e9, Cabu, Teul\u00e9, etc.). However, the genealogy of the genre, which suggests first appearances in French, English or American illustrated periodicals in the 19th century, remains widely unknown (SMOLDEREN, 2012; LEVRIER & PINSON, 2021) and requires further study. What narrative models do graphic reportages resort to, in particular the first epigones of the genre from the 19th-20th centuries? What are the current mechanisms of differentiation, and graphic and discursive strategies used by graphic reportage to stage the witnessing and the investigating conducted to capture \u201creality\u201d (cf. P.-A. DELANNOY, 2007)? How is \u201ccompetition\u201d established between fictional (or self-fictional) regimes, media regimes (intermedia dialogues or transmedia narration1<\/strong>) and factual writing in narratives where information is often perceived as antagonistic to storytelling? When reporting on physical and psychological violence, what resources do they use to produce testimonial evidence, in order towrite the unspeakable, to depict the \u2018un-showable\u2019, and to respect the victims when depicting the tragic events? How is graphic journalism perceived in terms of the informative discourse it produces and the aesthetic judgment of the procedures it uses?<\/p>\nNote 1 <\/strong>With borrowings from photography, graphic arts, animated reporting, webdocumentary, television…<\/p>\n2. Margins, identities, domination<\/h3>\nThis area of focus is an invitation to examine the professional challenges and definitions inherent to the authors\u2019 approaches to graphic journalism, as well as the choices of themes and the representations of marginal (or dominated) actors and discourses (also in terms of gender, diversity, etc.).<\/p>\nGraphic reportage lies on the margins of a dominant production of information, offering alternatives that need further studying (such as what the role of the \u201coutsider\u201d in the journalistic field is, for instance). What alternatives does it actually offer from predominant and hegemonic discourses? Does graphic journalism allow marginalized topics and voices to emerge, does it showcase individuals or groups usually un(der)-represented, or does it recycle topics already investigated by other long-form productions (online, on television, or in books written by journalists)? Do the authors participate in the hierarchization of the different forms of journalism, claiming on one hand to hold the \u2018outsider\u2019 position and, on an other hand, to embody some of the noblest traits of the profession?<\/p>\nAs it stands, the sociology of author-reporters, their positioning in or vis-\u00e0-vis the rest of the profession (status, identity, income), and their working conditions, is still very incomplete. Knowledge would be gained through the elaboration of social biographies of authors, an examination of their curricula and trajectories, a study of specific professionalization dynamics, as well as the characteristics of the division of labor between the different stakeholders of graphic reportage, such as publishers, scriptwriters, reporters, graphic artists, and \u201ccomplete authors\u201d (B. PEETERS, 2017).<\/p>\n3. Industrial and editorial strategies<\/h3>\nThis area of focus is an invitation to analyse the development of graphic journalism through the prism of the strategies implemented by newspapers and comic books publishers in graphic journalism. How do editorial strategies and investments made by press editors and graphic narrative publishers \u2013 which have grown massively in recent years – impact the marginality of the genre? What are the economic models (alternative publishing vs. mass publishing) of graphic reportage production, which has experienced, since the 1990s-2000s, an increasing editorial concentration and consolidation of niche products, illustrated by the case of graphic novels? What are the strategies of differentiation, valorisation and legitimisation in the field of graphic reportage publishing which can be observed amongst alternative publishers and major publishing companies? What role does the aestheticization, or even the artialisation, of information play in these strategies? How is commercial competition between publishers impacted? What is the share of self-published narratives within the overall production of graphic reportages? Which audiences are now targeted, given the inclusion of non-fiction to the genre?<\/p>\nFaced with narratives written \u201con a human scale\u201d (BOURDIEU, 2012), this issue will aim at identifying how graphic reportage, considered as a field of hybridization and mediation of the real, impacts graphic narration and how graphic narration impacts journalism.<\/p>\nCalendar and Submission<\/h2>\nThe deadline for submitting the full manuscripts (30 to 50,000 characters, including notes and bibliography) is May 15, 2022, at : editors.surlejournalisme@gmail.com<\/a><\/p>\nManuscripts may be written in English, French, Portuguese or Spanish. Double blind review. You can contact the editors in charge for any information request:\nOlivier KOCH koches1@yahoo.fr<\/a> Pablo TURNES blopaturnes@gmail.com<\/a> Fabrice PREYAT fpreyat@ulb.ac.be<\/a><\/p>\nAbout journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\nReferences<\/h2>\nBerthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\nBourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication […]<\/p>\n","protected":false},"author":1172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,130],"tags":[685,258,264,682],"thematique":[582,574],"sfsic":[],"class_list":["post-22265","post","type-post","status-publish","format-standard","hentry","category-article-en","category-cfp-publication","tag-graphisme-en","tag-image-en","tag-journalism","tag-medias-en","thematique-images-cinema-audiovisual-media-and-cultural-industries","thematique-media-and-journalism","wp-sticky"],"acf":[],"yoast_head":"\nGraphic journalism<\/title>\n<meta name=\"description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/cfp-publication\/graphic-journalism\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Graphic journalism\" \/>\n<meta property=\"og:description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/cfp-publication\/graphic-journalism\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2022-01-15T15:06:58+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-01-15T15:09:55+00:00\" \/>\n<meta name=\"author\" content=\"Fabiola Mamdy\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" 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\n\t\t\t\t\t\t\tExpected contribution type<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tPublication name<\/span><\/span> Sur le journalisme <\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinators<\/h3>\n\n\n\t\t\t\t\t\t\tOlivier<\/span> Koch<\/span>, Universit\u00e9 Nice-Sophia Antipolis<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, koches1@yahoo.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tPablo <\/span> Turnes<\/span>, Universidad de Buenos Aires<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, blopaturnes@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tFabrice <\/span> Preyat<\/span>, Universit\u00e9 libre de Bruxelles<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, fpreyat@ulb.ac.be<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nReference websites <\/h3>\n\n\n\t\t\t\t\t\t\tWebsite of the review<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nPresentation<\/h2>\nSince the 2000s, graphic journalism has enjoyed growing editorial success, internationally. Authors have worked to renew a unique type of graphic narrative rooted in reality, which offers an alternative to the mass media by dealing with the problems of dominated actors (migrants, LGBTQ+ communities, dispossessed farming communities, etc.). Graphic reportage developed significantly in the United States in the 1960s-1970s, and in France between 1969 and the 1980s, in publications affiliated with the counterculture. This development has taken on a variety of formats in extremely different publishing landscapes, from alternative production to that of major publishers or media outlets. In France alone, through the well-known phenomenon of editorial concentration of M\u00e9dia-Participations in particular, L’Association, La Revue Dessin\u00e9e or XXI, to name a few, or the Gallimard and Dupuis publishing groups, all contributed to the dissemination of the genre. They have published reports on “serious” subjects (wars, genocides, corruption of the elites, trade union struggles, etc.), against the reputation of comics, which had long been associated with fiction and teenage audiences.<\/p>\nThe development of graphic reportage is the result of the convergence between the industrial strategies of publishers and the commitment of authors to practicing journalism “differently”. In recent history, graphic journalism has continuously contributed to increasing the popularity of comics, characterised by the acquisition of a ‘new cultural legitimacy’ and to renewing the readership in so-called ‘non-fiction’ editorial niches (BERTHOU, 2016). Due to the difficult economic context of the written press, and in view of the growing popularity of comics, several media outlets have resorted to graphic reporting as a means for editorial revaluation and have used its appeal to attract new audiences. At the same time, the field of comics has benefited from a process of legitimisation thanks to the repositioning of ‘this medium, often discredited in terms of factuality, credibility and verifiability’ (BOURDIEU, 2012, our translation).<\/p>\nThis editorial offer depends on authors who practice ‘alternative’ journalism, at the margins of dominant media industries (DABITCH, 2009), through the subjects covered and the type of production – reporting and investigation – what is akin to a certain nobility of the profession(RUELLAN, 2007). First, graphic reportage lies on the margins of a large-scale production of news, generally published just-in-time in short formats, materialized in single-use consumables (such as free newspapers) and written by \u201cdesk professionals\u201d. On the contrary, graphic reportage is generally long format and published on mediums intended to be kept (mooks or albums). It is based on in-depth research and immersive investigation (DOZO, 2010), which can last a few weeks up to several years. Second, graphic reportage breaks away from some of the usual conventions of objectivity. It actively participates in deconstructing the myth of the \u2018neutral\u2019 journalist, which remain predominant in the profession (LEVEQUE, 2010). Indeed, many reporter-authors (\u201creport- authors\u201d) are featured as characters in the narratives: self-representation is used as a device to represent individual perceptions of the world, inform on the context(s) in which information is gathered, and share personal interpretations and hesitations. Such staging of the narration contributes to practising forms which can be related to \u201cjournalism of doubt\u201d (MARION, 2021) and activist journalism (LESAGE, 2017). Finally, many reporters sit on the outskirts of the profession and can sometimes be considered (or consider themselves as) \u201coutsiders\u201d (DABITCH, 2009): many authors (at least when starting out) do not have academic training in journalism nor hold a press card, or seem to worry much about joining the professional community of \u2018we, the journalists\u2019.<\/p>\nEmbracing the ambitions of narrative journalism, and combined with a subjectivity openly asserted, graphic reportage inscribes itself in the legacy – at times directly claimed by authors \u2013 of models such as new [new] journalism, gonzo journalism, literary journalism or slow journalism, and call upon renown authors as diverse as Hunter S. Thompson, Mark Krame or Albert Londres. In recent years, graphic journalism has developed through processes of importation and transformation of narrative and critical formats, hence creating dynamics of transnationalizion of models.<\/p>\nThis issue of Sur le journalisme, About journalism, Sobre jornalismo<\/strong><\/em> aims to examine the alternatives offered by graphic journalism by considering its narrative and editorial singularities, its relationship to the profession, and the industrial strategies on which it depends. To this end, we intend to explore the genre through an interdisciplinary approach, focusing on three distinct axes, which build on approaches ranging from post-classical narratology and discourse analysis to sociology, cultural industry studies and history of media and journalism.<\/p>\n1. Hybridizations, narration and aesthetic creation<\/h3>\nThis area of focus is an invitation to question the modalities and specificities of narrative processes in graphic reportage, and situate it in the historical landscape of media narratives.<\/p>\nGraphic reportage finds its contemporary roots in American graphic journalism from the 1960\u2019s and 1970\u2019s (S. Silverstein, W. Eisner) and the French alternative press that developed during the same period and until the 1980\u2019s (with authors such as G\u00e9b\u00e9, Cabu, Teul\u00e9, etc.). However, the genealogy of the genre, which suggests first appearances in French, English or American illustrated periodicals in the 19th century, remains widely unknown (SMOLDEREN, 2012; LEVRIER & PINSON, 2021) and requires further study. What narrative models do graphic reportages resort to, in particular the first epigones of the genre from the 19th-20th centuries? What are the current mechanisms of differentiation, and graphic and discursive strategies used by graphic reportage to stage the witnessing and the investigating conducted to capture \u201creality\u201d (cf. P.-A. DELANNOY, 2007)? How is \u201ccompetition\u201d established between fictional (or self-fictional) regimes, media regimes (intermedia dialogues or transmedia narration1<\/strong>) and factual writing in narratives where information is often perceived as antagonistic to storytelling? When reporting on physical and psychological violence, what resources do they use to produce testimonial evidence, in order towrite the unspeakable, to depict the \u2018un-showable\u2019, and to respect the victims when depicting the tragic events? How is graphic journalism perceived in terms of the informative discourse it produces and the aesthetic judgment of the procedures it uses?<\/p>\nNote 1 <\/strong>With borrowings from photography, graphic arts, animated reporting, webdocumentary, television…<\/p>\n2. Margins, identities, domination<\/h3>\nThis area of focus is an invitation to examine the professional challenges and definitions inherent to the authors\u2019 approaches to graphic journalism, as well as the choices of themes and the representations of marginal (or dominated) actors and discourses (also in terms of gender, diversity, etc.).<\/p>\nGraphic reportage lies on the margins of a dominant production of information, offering alternatives that need further studying (such as what the role of the \u201coutsider\u201d in the journalistic field is, for instance). What alternatives does it actually offer from predominant and hegemonic discourses? Does graphic journalism allow marginalized topics and voices to emerge, does it showcase individuals or groups usually un(der)-represented, or does it recycle topics already investigated by other long-form productions (online, on television, or in books written by journalists)? Do the authors participate in the hierarchization of the different forms of journalism, claiming on one hand to hold the \u2018outsider\u2019 position and, on an other hand, to embody some of the noblest traits of the profession?<\/p>\nAs it stands, the sociology of author-reporters, their positioning in or vis-\u00e0-vis the rest of the profession (status, identity, income), and their working conditions, is still very incomplete. Knowledge would be gained through the elaboration of social biographies of authors, an examination of their curricula and trajectories, a study of specific professionalization dynamics, as well as the characteristics of the division of labor between the different stakeholders of graphic reportage, such as publishers, scriptwriters, reporters, graphic artists, and \u201ccomplete authors\u201d (B. PEETERS, 2017).<\/p>\n3. Industrial and editorial strategies<\/h3>\nThis area of focus is an invitation to analyse the development of graphic journalism through the prism of the strategies implemented by newspapers and comic books publishers in graphic journalism. How do editorial strategies and investments made by press editors and graphic narrative publishers \u2013 which have grown massively in recent years – impact the marginality of the genre? What are the economic models (alternative publishing vs. mass publishing) of graphic reportage production, which has experienced, since the 1990s-2000s, an increasing editorial concentration and consolidation of niche products, illustrated by the case of graphic novels? What are the strategies of differentiation, valorisation and legitimisation in the field of graphic reportage publishing which can be observed amongst alternative publishers and major publishing companies? What role does the aestheticization, or even the artialisation, of information play in these strategies? How is commercial competition between publishers impacted? What is the share of self-published narratives within the overall production of graphic reportages? Which audiences are now targeted, given the inclusion of non-fiction to the genre?<\/p>\nFaced with narratives written \u201con a human scale\u201d (BOURDIEU, 2012), this issue will aim at identifying how graphic reportage, considered as a field of hybridization and mediation of the real, impacts graphic narration and how graphic narration impacts journalism.<\/p>\nCalendar and Submission<\/h2>\nThe deadline for submitting the full manuscripts (30 to 50,000 characters, including notes and bibliography) is May 15, 2022, at : editors.surlejournalisme@gmail.com<\/a><\/p>\nManuscripts may be written in English, French, Portuguese or Spanish. Double blind review. You can contact the editors in charge for any information request:\nOlivier KOCH koches1@yahoo.fr<\/a> Pablo TURNES blopaturnes@gmail.com<\/a> Fabrice PREYAT fpreyat@ulb.ac.be<\/a><\/p>\nAbout journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\nReferences<\/h2>\nBerthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\nBourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication […]<\/p>\n","protected":false},"author":1172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,130],"tags":[685,258,264,682],"thematique":[582,574],"sfsic":[],"class_list":["post-22265","post","type-post","status-publish","format-standard","hentry","category-article-en","category-cfp-publication","tag-graphisme-en","tag-image-en","tag-journalism","tag-medias-en","thematique-images-cinema-audiovisual-media-and-cultural-industries","thematique-media-and-journalism","wp-sticky"],"acf":[],"yoast_head":"\nGraphic journalism<\/title>\n<meta name=\"description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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\n\t\t\t\t\t\t\tPublication name<\/span><\/span> Sur le journalisme <\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinators<\/h3>\n\n\n\t\t\t\t\t\t\tOlivier<\/span> Koch<\/span>, Universit\u00e9 Nice-Sophia Antipolis<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, koches1@yahoo.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tPablo <\/span> Turnes<\/span>, Universidad de Buenos Aires<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, blopaturnes@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tFabrice <\/span> Preyat<\/span>, Universit\u00e9 libre de Bruxelles<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, fpreyat@ulb.ac.be<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nReference websites <\/h3>\n\n\n\t\t\t\t\t\t\tWebsite of the review<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nPresentation<\/h2>\nSince the 2000s, graphic journalism has enjoyed growing editorial success, internationally. Authors have worked to renew a unique type of graphic narrative rooted in reality, which offers an alternative to the mass media by dealing with the problems of dominated actors (migrants, LGBTQ+ communities, dispossessed farming communities, etc.). Graphic reportage developed significantly in the United States in the 1960s-1970s, and in France between 1969 and the 1980s, in publications affiliated with the counterculture. This development has taken on a variety of formats in extremely different publishing landscapes, from alternative production to that of major publishers or media outlets. In France alone, through the well-known phenomenon of editorial concentration of M\u00e9dia-Participations in particular, L’Association, La Revue Dessin\u00e9e or XXI, to name a few, or the Gallimard and Dupuis publishing groups, all contributed to the dissemination of the genre. They have published reports on “serious” subjects (wars, genocides, corruption of the elites, trade union struggles, etc.), against the reputation of comics, which had long been associated with fiction and teenage audiences.<\/p>\nThe development of graphic reportage is the result of the convergence between the industrial strategies of publishers and the commitment of authors to practicing journalism “differently”. In recent history, graphic journalism has continuously contributed to increasing the popularity of comics, characterised by the acquisition of a ‘new cultural legitimacy’ and to renewing the readership in so-called ‘non-fiction’ editorial niches (BERTHOU, 2016). Due to the difficult economic context of the written press, and in view of the growing popularity of comics, several media outlets have resorted to graphic reporting as a means for editorial revaluation and have used its appeal to attract new audiences. At the same time, the field of comics has benefited from a process of legitimisation thanks to the repositioning of ‘this medium, often discredited in terms of factuality, credibility and verifiability’ (BOURDIEU, 2012, our translation).<\/p>\nThis editorial offer depends on authors who practice ‘alternative’ journalism, at the margins of dominant media industries (DABITCH, 2009), through the subjects covered and the type of production – reporting and investigation – what is akin to a certain nobility of the profession(RUELLAN, 2007). First, graphic reportage lies on the margins of a large-scale production of news, generally published just-in-time in short formats, materialized in single-use consumables (such as free newspapers) and written by \u201cdesk professionals\u201d. On the contrary, graphic reportage is generally long format and published on mediums intended to be kept (mooks or albums). It is based on in-depth research and immersive investigation (DOZO, 2010), which can last a few weeks up to several years. Second, graphic reportage breaks away from some of the usual conventions of objectivity. It actively participates in deconstructing the myth of the \u2018neutral\u2019 journalist, which remain predominant in the profession (LEVEQUE, 2010). Indeed, many reporter-authors (\u201creport- authors\u201d) are featured as characters in the narratives: self-representation is used as a device to represent individual perceptions of the world, inform on the context(s) in which information is gathered, and share personal interpretations and hesitations. Such staging of the narration contributes to practising forms which can be related to \u201cjournalism of doubt\u201d (MARION, 2021) and activist journalism (LESAGE, 2017). Finally, many reporters sit on the outskirts of the profession and can sometimes be considered (or consider themselves as) \u201coutsiders\u201d (DABITCH, 2009): many authors (at least when starting out) do not have academic training in journalism nor hold a press card, or seem to worry much about joining the professional community of \u2018we, the journalists\u2019.<\/p>\nEmbracing the ambitions of narrative journalism, and combined with a subjectivity openly asserted, graphic reportage inscribes itself in the legacy – at times directly claimed by authors \u2013 of models such as new [new] journalism, gonzo journalism, literary journalism or slow journalism, and call upon renown authors as diverse as Hunter S. Thompson, Mark Krame or Albert Londres. In recent years, graphic journalism has developed through processes of importation and transformation of narrative and critical formats, hence creating dynamics of transnationalizion of models.<\/p>\nThis issue of Sur le journalisme, About journalism, Sobre jornalismo<\/strong><\/em> aims to examine the alternatives offered by graphic journalism by considering its narrative and editorial singularities, its relationship to the profession, and the industrial strategies on which it depends. To this end, we intend to explore the genre through an interdisciplinary approach, focusing on three distinct axes, which build on approaches ranging from post-classical narratology and discourse analysis to sociology, cultural industry studies and history of media and journalism.<\/p>\n1. Hybridizations, narration and aesthetic creation<\/h3>\nThis area of focus is an invitation to question the modalities and specificities of narrative processes in graphic reportage, and situate it in the historical landscape of media narratives.<\/p>\nGraphic reportage finds its contemporary roots in American graphic journalism from the 1960\u2019s and 1970\u2019s (S. Silverstein, W. Eisner) and the French alternative press that developed during the same period and until the 1980\u2019s (with authors such as G\u00e9b\u00e9, Cabu, Teul\u00e9, etc.). However, the genealogy of the genre, which suggests first appearances in French, English or American illustrated periodicals in the 19th century, remains widely unknown (SMOLDEREN, 2012; LEVRIER & PINSON, 2021) and requires further study. What narrative models do graphic reportages resort to, in particular the first epigones of the genre from the 19th-20th centuries? What are the current mechanisms of differentiation, and graphic and discursive strategies used by graphic reportage to stage the witnessing and the investigating conducted to capture \u201creality\u201d (cf. P.-A. DELANNOY, 2007)? How is \u201ccompetition\u201d established between fictional (or self-fictional) regimes, media regimes (intermedia dialogues or transmedia narration1<\/strong>) and factual writing in narratives where information is often perceived as antagonistic to storytelling? When reporting on physical and psychological violence, what resources do they use to produce testimonial evidence, in order towrite the unspeakable, to depict the \u2018un-showable\u2019, and to respect the victims when depicting the tragic events? How is graphic journalism perceived in terms of the informative discourse it produces and the aesthetic judgment of the procedures it uses?<\/p>\nNote 1 <\/strong>With borrowings from photography, graphic arts, animated reporting, webdocumentary, television…<\/p>\n2. Margins, identities, domination<\/h3>\nThis area of focus is an invitation to examine the professional challenges and definitions inherent to the authors\u2019 approaches to graphic journalism, as well as the choices of themes and the representations of marginal (or dominated) actors and discourses (also in terms of gender, diversity, etc.).<\/p>\nGraphic reportage lies on the margins of a dominant production of information, offering alternatives that need further studying (such as what the role of the \u201coutsider\u201d in the journalistic field is, for instance). What alternatives does it actually offer from predominant and hegemonic discourses? Does graphic journalism allow marginalized topics and voices to emerge, does it showcase individuals or groups usually un(der)-represented, or does it recycle topics already investigated by other long-form productions (online, on television, or in books written by journalists)? Do the authors participate in the hierarchization of the different forms of journalism, claiming on one hand to hold the \u2018outsider\u2019 position and, on an other hand, to embody some of the noblest traits of the profession?<\/p>\nAs it stands, the sociology of author-reporters, their positioning in or vis-\u00e0-vis the rest of the profession (status, identity, income), and their working conditions, is still very incomplete. Knowledge would be gained through the elaboration of social biographies of authors, an examination of their curricula and trajectories, a study of specific professionalization dynamics, as well as the characteristics of the division of labor between the different stakeholders of graphic reportage, such as publishers, scriptwriters, reporters, graphic artists, and \u201ccomplete authors\u201d (B. PEETERS, 2017).<\/p>\n3. Industrial and editorial strategies<\/h3>\nThis area of focus is an invitation to analyse the development of graphic journalism through the prism of the strategies implemented by newspapers and comic books publishers in graphic journalism. How do editorial strategies and investments made by press editors and graphic narrative publishers \u2013 which have grown massively in recent years – impact the marginality of the genre? What are the economic models (alternative publishing vs. mass publishing) of graphic reportage production, which has experienced, since the 1990s-2000s, an increasing editorial concentration and consolidation of niche products, illustrated by the case of graphic novels? What are the strategies of differentiation, valorisation and legitimisation in the field of graphic reportage publishing which can be observed amongst alternative publishers and major publishing companies? What role does the aestheticization, or even the artialisation, of information play in these strategies? How is commercial competition between publishers impacted? What is the share of self-published narratives within the overall production of graphic reportages? Which audiences are now targeted, given the inclusion of non-fiction to the genre?<\/p>\nFaced with narratives written \u201con a human scale\u201d (BOURDIEU, 2012), this issue will aim at identifying how graphic reportage, considered as a field of hybridization and mediation of the real, impacts graphic narration and how graphic narration impacts journalism.<\/p>\nCalendar and Submission<\/h2>\nThe deadline for submitting the full manuscripts (30 to 50,000 characters, including notes and bibliography) is May 15, 2022, at : editors.surlejournalisme@gmail.com<\/a><\/p>\nManuscripts may be written in English, French, Portuguese or Spanish. Double blind review. You can contact the editors in charge for any information request:\nOlivier KOCH koches1@yahoo.fr<\/a> Pablo TURNES blopaturnes@gmail.com<\/a> Fabrice PREYAT fpreyat@ulb.ac.be<\/a><\/p>\nAbout journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\nReferences<\/h2>\nBerthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\nBourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication […]<\/p>\n","protected":false},"author":1172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,130],"tags":[685,258,264,682],"thematique":[582,574],"sfsic":[],"class_list":["post-22265","post","type-post","status-publish","format-standard","hentry","category-article-en","category-cfp-publication","tag-graphisme-en","tag-image-en","tag-journalism","tag-medias-en","thematique-images-cinema-audiovisual-media-and-cultural-industries","thematique-media-and-journalism","wp-sticky"],"acf":[],"yoast_head":"\nGraphic journalism<\/title>\n<meta name=\"description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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Since the 2000s, graphic journalism has enjoyed growing editorial success, internationally. Authors have worked to renew a unique type of graphic narrative rooted in reality, which offers an alternative to the mass media by dealing with the problems of dominated actors (migrants, LGBTQ+ communities, dispossessed farming communities, etc.). Graphic reportage developed significantly in the United States in the 1960s-1970s, and in France between 1969 and the 1980s, in publications affiliated with the counterculture. This development has taken on a variety of formats in extremely different publishing landscapes, from alternative production to that of major publishers or media outlets. In France alone, through the well-known phenomenon of editorial concentration of M\u00e9dia-Participations in particular, L’Association, La Revue Dessin\u00e9e or XXI, to name a few, or the Gallimard and Dupuis publishing groups, all contributed to the dissemination of the genre. They have published reports on “serious” subjects (wars, genocides, corruption of the elites, trade union struggles, etc.), against the reputation of comics, which had long been associated with fiction and teenage audiences.<\/p>\n
The development of graphic reportage is the result of the convergence between the industrial strategies of publishers and the commitment of authors to practicing journalism “differently”. In recent history, graphic journalism has continuously contributed to increasing the popularity of comics, characterised by the acquisition of a ‘new cultural legitimacy’ and to renewing the readership in so-called ‘non-fiction’ editorial niches (BERTHOU, 2016). Due to the difficult economic context of the written press, and in view of the growing popularity of comics, several media outlets have resorted to graphic reporting as a means for editorial revaluation and have used its appeal to attract new audiences. At the same time, the field of comics has benefited from a process of legitimisation thanks to the repositioning of ‘this medium, often discredited in terms of factuality, credibility and verifiability’ (BOURDIEU, 2012, our translation).<\/p>\n
This editorial offer depends on authors who practice ‘alternative’ journalism, at the margins of dominant media industries (DABITCH, 2009), through the subjects covered and the type of production – reporting and investigation – what is akin to a certain nobility of the profession(RUELLAN, 2007). First, graphic reportage lies on the margins of a large-scale production of news, generally published just-in-time in short formats, materialized in single-use consumables (such as free newspapers) and written by \u201cdesk professionals\u201d. On the contrary, graphic reportage is generally long format and published on mediums intended to be kept (mooks or albums). It is based on in-depth research and immersive investigation (DOZO, 2010), which can last a few weeks up to several years. Second, graphic reportage breaks away from some of the usual conventions of objectivity. It actively participates in deconstructing the myth of the \u2018neutral\u2019 journalist, which remain predominant in the profession (LEVEQUE, 2010). Indeed, many reporter-authors (\u201creport- authors\u201d) are featured as characters in the narratives: self-representation is used as a device to represent individual perceptions of the world, inform on the context(s) in which information is gathered, and share personal interpretations and hesitations. Such staging of the narration contributes to practising forms which can be related to \u201cjournalism of doubt\u201d (MARION, 2021) and activist journalism (LESAGE, 2017). Finally, many reporters sit on the outskirts of the profession and can sometimes be considered (or consider themselves as) \u201coutsiders\u201d (DABITCH, 2009): many authors (at least when starting out) do not have academic training in journalism nor hold a press card, or seem to worry much about joining the professional community of \u2018we, the journalists\u2019.<\/p>\n
Embracing the ambitions of narrative journalism, and combined with a subjectivity openly asserted, graphic reportage inscribes itself in the legacy – at times directly claimed by authors \u2013 of models such as new [new] journalism, gonzo journalism, literary journalism or slow journalism, and call upon renown authors as diverse as Hunter S. Thompson, Mark Krame or Albert Londres. In recent years, graphic journalism has developed through processes of importation and transformation of narrative and critical formats, hence creating dynamics of transnationalizion of models.<\/p>\n
This issue of Sur le journalisme, About journalism, Sobre jornalismo<\/strong><\/em> aims to examine the alternatives offered by graphic journalism by considering its narrative and editorial singularities, its relationship to the profession, and the industrial strategies on which it depends. To this end, we intend to explore the genre through an interdisciplinary approach, focusing on three distinct axes, which build on approaches ranging from post-classical narratology and discourse analysis to sociology, cultural industry studies and history of media and journalism.<\/p>\n1. Hybridizations, narration and aesthetic creation<\/h3>\nThis area of focus is an invitation to question the modalities and specificities of narrative processes in graphic reportage, and situate it in the historical landscape of media narratives.<\/p>\nGraphic reportage finds its contemporary roots in American graphic journalism from the 1960\u2019s and 1970\u2019s (S. Silverstein, W. Eisner) and the French alternative press that developed during the same period and until the 1980\u2019s (with authors such as G\u00e9b\u00e9, Cabu, Teul\u00e9, etc.). However, the genealogy of the genre, which suggests first appearances in French, English or American illustrated periodicals in the 19th century, remains widely unknown (SMOLDEREN, 2012; LEVRIER & PINSON, 2021) and requires further study. What narrative models do graphic reportages resort to, in particular the first epigones of the genre from the 19th-20th centuries? What are the current mechanisms of differentiation, and graphic and discursive strategies used by graphic reportage to stage the witnessing and the investigating conducted to capture \u201creality\u201d (cf. P.-A. DELANNOY, 2007)? How is \u201ccompetition\u201d established between fictional (or self-fictional) regimes, media regimes (intermedia dialogues or transmedia narration1<\/strong>) and factual writing in narratives where information is often perceived as antagonistic to storytelling? When reporting on physical and psychological violence, what resources do they use to produce testimonial evidence, in order towrite the unspeakable, to depict the \u2018un-showable\u2019, and to respect the victims when depicting the tragic events? How is graphic journalism perceived in terms of the informative discourse it produces and the aesthetic judgment of the procedures it uses?<\/p>\nNote 1 <\/strong>With borrowings from photography, graphic arts, animated reporting, webdocumentary, television…<\/p>\n2. Margins, identities, domination<\/h3>\nThis area of focus is an invitation to examine the professional challenges and definitions inherent to the authors\u2019 approaches to graphic journalism, as well as the choices of themes and the representations of marginal (or dominated) actors and discourses (also in terms of gender, diversity, etc.).<\/p>\nGraphic reportage lies on the margins of a dominant production of information, offering alternatives that need further studying (such as what the role of the \u201coutsider\u201d in the journalistic field is, for instance). What alternatives does it actually offer from predominant and hegemonic discourses? Does graphic journalism allow marginalized topics and voices to emerge, does it showcase individuals or groups usually un(der)-represented, or does it recycle topics already investigated by other long-form productions (online, on television, or in books written by journalists)? Do the authors participate in the hierarchization of the different forms of journalism, claiming on one hand to hold the \u2018outsider\u2019 position and, on an other hand, to embody some of the noblest traits of the profession?<\/p>\nAs it stands, the sociology of author-reporters, their positioning in or vis-\u00e0-vis the rest of the profession (status, identity, income), and their working conditions, is still very incomplete. Knowledge would be gained through the elaboration of social biographies of authors, an examination of their curricula and trajectories, a study of specific professionalization dynamics, as well as the characteristics of the division of labor between the different stakeholders of graphic reportage, such as publishers, scriptwriters, reporters, graphic artists, and \u201ccomplete authors\u201d (B. PEETERS, 2017).<\/p>\n3. Industrial and editorial strategies<\/h3>\nThis area of focus is an invitation to analyse the development of graphic journalism through the prism of the strategies implemented by newspapers and comic books publishers in graphic journalism. How do editorial strategies and investments made by press editors and graphic narrative publishers \u2013 which have grown massively in recent years – impact the marginality of the genre? What are the economic models (alternative publishing vs. mass publishing) of graphic reportage production, which has experienced, since the 1990s-2000s, an increasing editorial concentration and consolidation of niche products, illustrated by the case of graphic novels? What are the strategies of differentiation, valorisation and legitimisation in the field of graphic reportage publishing which can be observed amongst alternative publishers and major publishing companies? What role does the aestheticization, or even the artialisation, of information play in these strategies? How is commercial competition between publishers impacted? What is the share of self-published narratives within the overall production of graphic reportages? Which audiences are now targeted, given the inclusion of non-fiction to the genre?<\/p>\nFaced with narratives written \u201con a human scale\u201d (BOURDIEU, 2012), this issue will aim at identifying how graphic reportage, considered as a field of hybridization and mediation of the real, impacts graphic narration and how graphic narration impacts journalism.<\/p>\nCalendar and Submission<\/h2>\nThe deadline for submitting the full manuscripts (30 to 50,000 characters, including notes and bibliography) is May 15, 2022, at : editors.surlejournalisme@gmail.com<\/a><\/p>\nManuscripts may be written in English, French, Portuguese or Spanish. Double blind review. You can contact the editors in charge for any information request:\nOlivier KOCH koches1@yahoo.fr<\/a> Pablo TURNES blopaturnes@gmail.com<\/a> Fabrice PREYAT fpreyat@ulb.ac.be<\/a><\/p>\nAbout journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\nReferences<\/h2>\nBerthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\nBourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication […]<\/p>\n","protected":false},"author":1172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,130],"tags":[685,258,264,682],"thematique":[582,574],"sfsic":[],"class_list":["post-22265","post","type-post","status-publish","format-standard","hentry","category-article-en","category-cfp-publication","tag-graphisme-en","tag-image-en","tag-journalism","tag-medias-en","thematique-images-cinema-audiovisual-media-and-cultural-industries","thematique-media-and-journalism","wp-sticky"],"acf":[],"yoast_head":"\nGraphic journalism<\/title>\n<meta name=\"description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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This area of focus is an invitation to question the modalities and specificities of narrative processes in graphic reportage, and situate it in the historical landscape of media narratives.<\/p>\n
Graphic reportage finds its contemporary roots in American graphic journalism from the 1960\u2019s and 1970\u2019s (S. Silverstein, W. Eisner) and the French alternative press that developed during the same period and until the 1980\u2019s (with authors such as G\u00e9b\u00e9, Cabu, Teul\u00e9, etc.). However, the genealogy of the genre, which suggests first appearances in French, English or American illustrated periodicals in the 19th century, remains widely unknown (SMOLDEREN, 2012; LEVRIER & PINSON, 2021) and requires further study. What narrative models do graphic reportages resort to, in particular the first epigones of the genre from the 19th-20th centuries? What are the current mechanisms of differentiation, and graphic and discursive strategies used by graphic reportage to stage the witnessing and the investigating conducted to capture \u201creality\u201d (cf. P.-A. DELANNOY, 2007)? How is \u201ccompetition\u201d established between fictional (or self-fictional) regimes, media regimes (intermedia dialogues or transmedia narration1<\/strong>) and factual writing in narratives where information is often perceived as antagonistic to storytelling? When reporting on physical and psychological violence, what resources do they use to produce testimonial evidence, in order towrite the unspeakable, to depict the \u2018un-showable\u2019, and to respect the victims when depicting the tragic events? How is graphic journalism perceived in terms of the informative discourse it produces and the aesthetic judgment of the procedures it uses?<\/p>\nNote 1 <\/strong>With borrowings from photography, graphic arts, animated reporting, webdocumentary, television…<\/p>\n2. Margins, identities, domination<\/h3>\nThis area of focus is an invitation to examine the professional challenges and definitions inherent to the authors\u2019 approaches to graphic journalism, as well as the choices of themes and the representations of marginal (or dominated) actors and discourses (also in terms of gender, diversity, etc.).<\/p>\nGraphic reportage lies on the margins of a dominant production of information, offering alternatives that need further studying (such as what the role of the \u201coutsider\u201d in the journalistic field is, for instance). What alternatives does it actually offer from predominant and hegemonic discourses? Does graphic journalism allow marginalized topics and voices to emerge, does it showcase individuals or groups usually un(der)-represented, or does it recycle topics already investigated by other long-form productions (online, on television, or in books written by journalists)? Do the authors participate in the hierarchization of the different forms of journalism, claiming on one hand to hold the \u2018outsider\u2019 position and, on an other hand, to embody some of the noblest traits of the profession?<\/p>\nAs it stands, the sociology of author-reporters, their positioning in or vis-\u00e0-vis the rest of the profession (status, identity, income), and their working conditions, is still very incomplete. Knowledge would be gained through the elaboration of social biographies of authors, an examination of their curricula and trajectories, a study of specific professionalization dynamics, as well as the characteristics of the division of labor between the different stakeholders of graphic reportage, such as publishers, scriptwriters, reporters, graphic artists, and \u201ccomplete authors\u201d (B. PEETERS, 2017).<\/p>\n3. Industrial and editorial strategies<\/h3>\nThis area of focus is an invitation to analyse the development of graphic journalism through the prism of the strategies implemented by newspapers and comic books publishers in graphic journalism. How do editorial strategies and investments made by press editors and graphic narrative publishers \u2013 which have grown massively in recent years – impact the marginality of the genre? What are the economic models (alternative publishing vs. mass publishing) of graphic reportage production, which has experienced, since the 1990s-2000s, an increasing editorial concentration and consolidation of niche products, illustrated by the case of graphic novels? What are the strategies of differentiation, valorisation and legitimisation in the field of graphic reportage publishing which can be observed amongst alternative publishers and major publishing companies? What role does the aestheticization, or even the artialisation, of information play in these strategies? How is commercial competition between publishers impacted? What is the share of self-published narratives within the overall production of graphic reportages? Which audiences are now targeted, given the inclusion of non-fiction to the genre?<\/p>\nFaced with narratives written \u201con a human scale\u201d (BOURDIEU, 2012), this issue will aim at identifying how graphic reportage, considered as a field of hybridization and mediation of the real, impacts graphic narration and how graphic narration impacts journalism.<\/p>\nCalendar and Submission<\/h2>\nThe deadline for submitting the full manuscripts (30 to 50,000 characters, including notes and bibliography) is May 15, 2022, at : editors.surlejournalisme@gmail.com<\/a><\/p>\nManuscripts may be written in English, French, Portuguese or Spanish. Double blind review. You can contact the editors in charge for any information request:\nOlivier KOCH koches1@yahoo.fr<\/a> Pablo TURNES blopaturnes@gmail.com<\/a> Fabrice PREYAT fpreyat@ulb.ac.be<\/a><\/p>\nAbout journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\nReferences<\/h2>\nBerthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\nBourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication 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Note 1 <\/strong>With borrowings from photography, graphic arts, animated reporting, webdocumentary, television…<\/p>\n2. Margins, identities, domination<\/h3>\nThis area of focus is an invitation to examine the professional challenges and definitions inherent to the authors\u2019 approaches to graphic journalism, as well as the choices of themes and the representations of marginal (or dominated) actors and discourses (also in terms of gender, diversity, etc.).<\/p>\nGraphic reportage lies on the margins of a dominant production of information, offering alternatives that need further studying (such as what the role of the \u201coutsider\u201d in the journalistic field is, for instance). What alternatives does it actually offer from predominant and hegemonic discourses? Does graphic journalism allow marginalized topics and voices to emerge, does it showcase individuals or groups usually un(der)-represented, or does it recycle topics already investigated by other long-form productions (online, on television, or in books written by journalists)? Do the authors participate in the hierarchization of the different forms of journalism, claiming on one hand to hold the \u2018outsider\u2019 position and, on an other hand, to embody some of the noblest traits of the profession?<\/p>\nAs it stands, the sociology of author-reporters, their positioning in or vis-\u00e0-vis the rest of the profession (status, identity, income), and their working conditions, is still very incomplete. Knowledge would be gained through the elaboration of social biographies of authors, an examination of their curricula and trajectories, a study of specific professionalization dynamics, as well as the characteristics of the division of labor between the different stakeholders of graphic reportage, such as publishers, scriptwriters, reporters, graphic artists, and \u201ccomplete authors\u201d (B. PEETERS, 2017).<\/p>\n3. Industrial and editorial strategies<\/h3>\nThis area of focus is an invitation to analyse the development of graphic journalism through the prism of the strategies implemented by newspapers and comic books publishers in graphic journalism. How do editorial strategies and investments made by press editors and graphic narrative publishers \u2013 which have grown massively in recent years – impact the marginality of the genre? What are the economic models (alternative publishing vs. mass publishing) of graphic reportage production, which has experienced, since the 1990s-2000s, an increasing editorial concentration and consolidation of niche products, illustrated by the case of graphic novels? What are the strategies of differentiation, valorisation and legitimisation in the field of graphic reportage publishing which can be observed amongst alternative publishers and major publishing companies? What role does the aestheticization, or even the artialisation, of information play in these strategies? How is commercial competition between publishers impacted? What is the share of self-published narratives within the overall production of graphic reportages? Which audiences are now targeted, given the inclusion of non-fiction to the genre?<\/p>\nFaced with narratives written \u201con a human scale\u201d (BOURDIEU, 2012), this issue will aim at identifying how graphic reportage, considered as a field of hybridization and mediation of the real, impacts graphic narration and how graphic narration impacts journalism.<\/p>\nCalendar and Submission<\/h2>\nThe deadline for submitting the full manuscripts (30 to 50,000 characters, including notes and bibliography) is May 15, 2022, at : editors.surlejournalisme@gmail.com<\/a><\/p>\nManuscripts may be written in English, French, Portuguese or Spanish. Double blind review. You can contact the editors in charge for any information request:\nOlivier KOCH koches1@yahoo.fr<\/a> Pablo TURNES blopaturnes@gmail.com<\/a> Fabrice PREYAT fpreyat@ulb.ac.be<\/a><\/p>\nAbout journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\nReferences<\/h2>\nBerthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\nBourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication 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This area of focus is an invitation to examine the professional challenges and definitions inherent to the authors\u2019 approaches to graphic journalism, as well as the choices of themes and the representations of marginal (or dominated) actors and discourses (also in terms of gender, diversity, etc.).<\/p>\n
Graphic reportage lies on the margins of a dominant production of information, offering alternatives that need further studying (such as what the role of the \u201coutsider\u201d in the journalistic field is, for instance). What alternatives does it actually offer from predominant and hegemonic discourses? Does graphic journalism allow marginalized topics and voices to emerge, does it showcase individuals or groups usually un(der)-represented, or does it recycle topics already investigated by other long-form productions (online, on television, or in books written by journalists)? Do the authors participate in the hierarchization of the different forms of journalism, claiming on one hand to hold the \u2018outsider\u2019 position and, on an other hand, to embody some of the noblest traits of the profession?<\/p>\n
As it stands, the sociology of author-reporters, their positioning in or vis-\u00e0-vis the rest of the profession (status, identity, income), and their working conditions, is still very incomplete. Knowledge would be gained through the elaboration of social biographies of authors, an examination of their curricula and trajectories, a study of specific professionalization dynamics, as well as the characteristics of the division of labor between the different stakeholders of graphic reportage, such as publishers, scriptwriters, reporters, graphic artists, and \u201ccomplete authors\u201d (B. PEETERS, 2017).<\/p>\n
This area of focus is an invitation to analyse the development of graphic journalism through the prism of the strategies implemented by newspapers and comic books publishers in graphic journalism. How do editorial strategies and investments made by press editors and graphic narrative publishers \u2013 which have grown massively in recent years – impact the marginality of the genre? What are the economic models (alternative publishing vs. mass publishing) of graphic reportage production, which has experienced, since the 1990s-2000s, an increasing editorial concentration and consolidation of niche products, illustrated by the case of graphic novels? What are the strategies of differentiation, valorisation and legitimisation in the field of graphic reportage publishing which can be observed amongst alternative publishers and major publishing companies? What role does the aestheticization, or even the artialisation, of information play in these strategies? How is commercial competition between publishers impacted? What is the share of self-published narratives within the overall production of graphic reportages? Which audiences are now targeted, given the inclusion of non-fiction to the genre?<\/p>\n
Faced with narratives written \u201con a human scale\u201d (BOURDIEU, 2012), this issue will aim at identifying how graphic reportage, considered as a field of hybridization and mediation of the real, impacts graphic narration and how graphic narration impacts journalism.<\/p>\n
The deadline for submitting the full manuscripts (30 to 50,000 characters, including notes and bibliography) is May 15, 2022, at : editors.surlejournalisme@gmail.com<\/a><\/p>\nManuscripts may be written in English, French, Portuguese or Spanish. Double blind review. You can contact the editors in charge for any information request:\nOlivier KOCH koches1@yahoo.fr<\/a> Pablo TURNES blopaturnes@gmail.com<\/a> Fabrice PREYAT fpreyat@ulb.ac.be<\/a><\/p>\nAbout journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\nReferences<\/h2>\nBerthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\nBourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication […]<\/p>\n","protected":false},"author":1172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,130],"tags":[685,258,264,682],"thematique":[582,574],"sfsic":[],"class_list":["post-22265","post","type-post","status-publish","format-standard","hentry","category-article-en","category-cfp-publication","tag-graphisme-en","tag-image-en","tag-journalism","tag-medias-en","thematique-images-cinema-audiovisual-media-and-cultural-industries","thematique-media-and-journalism","wp-sticky"],"acf":[],"yoast_head":"\nGraphic journalism<\/title>\n<meta name=\"description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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Manuscripts may be written in English, French, Portuguese or Spanish. Double blind review. You can contact the editors in charge for any information request:\nOlivier KOCH koches1@yahoo.fr<\/a> Pablo TURNES blopaturnes@gmail.com<\/a> Fabrice PREYAT fpreyat@ulb.ac.be<\/a><\/p>\nAbout journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\nReferences<\/h2>\nBerthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\nBourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication 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About journalism \u2013 Sur le journalisme \u2013 Sobre jornalismo is indexed on the following academic databases: EBSCO Communication Source collection, Archive ouverte en Sciences de l’Homme et de la Soci\u00e9t\u00e9 (HAL-SHS), DOAJ, EZB (Elektronische Zeitschriftenbibliothek), Mir@bel, Sudoc, Sum\u00e1rios.Org, WorldCat (OCLC), European Reference Index for the Humanities and the Social Sciences (ERIH PLUS). About journalism is classified as qualified journal in France (HCERES Index). Brazilian Qualis-CAPES evaluation for 2013-2016: B5.<\/p>\n
Berthou B., 2016, \u00c9diter la bande dessin\u00e9e, Paris : \u00c9ditions du cercle de la librairie (\u00ab Pratiques \u00e9ditoriales \u00bb), pp. 11-19.<\/p>\n
Bourdieu S., 2012, \u00ab Le reportage en bande dessin\u00e9e dans la presse actuelle : un autre regard sur le monde\u00bb, COnTEXTES, n\u00b011 (\u00abLe litt\u00e9raire en r\u00e9gime journalistique\u00bb). Retrieved from: https:\/\/journals.openedition.org\/contextes\/5362<\/a><\/p>\nCaraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication […]<\/p>\n","protected":false},"author":1172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,130],"tags":[685,258,264,682],"thematique":[582,574],"sfsic":[],"class_list":["post-22265","post","type-post","status-publish","format-standard","hentry","category-article-en","category-cfp-publication","tag-graphisme-en","tag-image-en","tag-journalism","tag-medias-en","thematique-images-cinema-audiovisual-media-and-cultural-industries","thematique-media-and-journalism","wp-sticky"],"acf":[],"yoast_head":"\nGraphic journalism<\/title>\n<meta name=\"description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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Caraco B., 2013, \u00abReportage(s): Intimit\u00e9 du journalisme et de la bande dessin\u00e9e\u00bb. Dans Nonfiction. Retrieved from: https:\/\/www .nonfiction.fr\/article-6712- reportage_s__intimite_du_journalisme_et_de_la_bande_dessinee.htm<\/a><\/p>\nCatal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\nDabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\nDelannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\nDozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\nLesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication […]<\/p>\n","protected":false},"author":1172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,130],"tags":[685,258,264,682],"thematique":[582,574],"sfsic":[],"class_list":["post-22265","post","type-post","status-publish","format-standard","hentry","category-article-en","category-cfp-publication","tag-graphisme-en","tag-image-en","tag-journalism","tag-medias-en","thematique-images-cinema-audiovisual-media-and-cultural-industries","thematique-media-and-journalism","wp-sticky"],"acf":[],"yoast_head":"\nGraphic journalism<\/title>\n<meta name=\"description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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Catal\u00e1 Carrasco J., Drinot P., Scorer J. (dir.), 2017, Comics and Memory in Latin America, Pittsburgh: University of Pittsburgh Press.<\/p>\n
Dabitch C., 2009, \u00ab Reportage et bande dessin\u00e9e \u00bb, dans Bande dessin\u00e9e et lien social, \u00c9. Dacheux (dir.), Paris : CNRS \u00c9ditions (\u00ab Les essentiels d\u2019Herm\u00e8s \u00bb), pp. 67-81.<\/p>\n
Delannoy P. A. (dir.), 2007, La bande dessin\u00e9e \u00e0 l\u2019\u00e9preuve du r\u00e9el, Paris-Lille : L\u2019Harmattan-CIRCAV (\u00ab Les Cahiers Interdisciplinaires de la Recherche en Communication Audio Visuelle \u00bb, 19).<\/p>\n
Dozo B.O., 2010, \u00ab Note sur la bande dessin\u00e9e de reportage \u00bb, Textyles, n\u00b036-37 (\u00ab La bande dessin\u00e9e contemporaine \u00bb, B.-O. Dozo, F. Preyat, dir.), pp. 149-155.<\/p>\n
Lesage S., 2017, \u00ab La bande dessin\u00e9e, une nouvelle \u00e9criture de l\u2019info \u00bb, La revue des m\u00e9dias. Retrieved from: https:\/\/larevuedesmedias.ina.fr\/la-bande-dessinee-une-nouvelle-ecriture-de-linfo<\/a><\/p>\nL\u00e9v\u00eaque S., 2010, \u00ab Introduction \u00bb, in L\u00e9v\u00eaque S., Ruellan D., (dir.), Journalistes engag\u00e9s, Rennes : Presses Universitaires de Rennes, pp. 9-16.<\/p>\nL\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\nMarion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\nMichaud C. (dir.), 2016, Escritura e imagen en Hispanoam\u00e9rica, Lima: Fondo Editorial de la PUCP.<\/p>\nOrselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication […]<\/p>\n","protected":false},"author":1172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,130],"tags":[685,258,264,682],"thematique":[582,574],"sfsic":[],"class_list":["post-22265","post","type-post","status-publish","format-standard","hentry","category-article-en","category-cfp-publication","tag-graphisme-en","tag-image-en","tag-journalism","tag-medias-en","thematique-images-cinema-audiovisual-media-and-cultural-industries","thematique-media-and-journalism","wp-sticky"],"acf":[],"yoast_head":"\nGraphic journalism<\/title>\n<meta name=\"description\" content=\"'Sur le journalisme' dedicates a special issue to 'Graphic Journalism: Hybridizations, Margins, Strategies'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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L\u00e9vrier A., Pinson G., (dir.), Presse et bande dessin\u00e9e. Une aventure sans fin, 2021, Bruxelles : Les Impressions nouvelles<\/p>\n
Marion Ph., 2021, \u00ab Quand la bande dessin\u00e9e s\u2019engage en journalisme : regards sur le BD reportage \u00bb, dans Bande dessin\u00e9e et engagement, F. Preyat, J.-L. Tilleuil, (dir.), Bruxelles : Peter Lang, (\u00e0 para\u00eetre)<\/p>\n
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Orselli J., Sohet P., 2005, \u00ab Reportage d\u2019images \/ Images du reportage \u00bb. Dans Image and narrative. Retrieved from: http:\/\/www.imageandnarrative.be\/inarchive\/worldmusicb_advertising\/orselli.htm<\/a><\/p>\nRuellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\nScorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\nSmolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. Retrieved from: http:\/\/neuviemeart.citebd.org\/spip.php?article357<\/a><\/p>\n<\/p><\/div>\n\nKeywords<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nGraphisme<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nJournalism<\/span><\/a><\/li>\nM\u00e9dias<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Posted on 15 January 2022 Th\u00e9matiques Images, cinema, audiovisual media and cultural industries Media and journalism Expected response for the 15\/05\/2022 Response type Contribution compl\u00e8te Expected contribution type Article Publication 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Ruellan D., 2007, Le journalisme ou le professionnalisme du flou, Grenoble : Presses universitaires de Grenoble.<\/p>\n
Scorer J. (dir), 2020, Comics beyond the page in Latin America, London: UCL Press.<\/p>\n
Smolderen Th., 2012, \u00ab I. Les d\u00e9buts de la bande dessin\u00e9e dans l\u2019Illustrated London News \u00bb. Dans : Neuvi\u00e8me art 2.0. 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