THE BRITISH LIBRARY

Social Science blog

3 posts categorized "Visual arts"

05 October 2018

More digital comics!

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For the past few months, we've been working behind the scenes with Comichaus to help us collect more UK independent comics. From 1st October, we're able to start collecting. Here is what we are doing, and why ...

COMICHAUS BOY BRITISH LIBRARY-websmall

Independent comics in the UK reflect a huge range of energy and diversity, and are influential on other types of writing and expression. This was very clear both in the line up at this year's Thoughtbubble festival in Leeds, and also the Comics Forum - where comics art and writing could be found across healthcare, archaeology, local history and autobiography (as well as Victorian magic, space villains and giant robots). But, collecting independently published comics is a challenge. While the Library does receive comics from many independent creators, not all people who make and distribute their comics think of themselves as publishers, or that they should be submitting their work to the British Library, or know how to do this. Information about independently published comics is generally not available in the same way as for books with ISBNs, so it’s hard for us to know what is available to collect.  

So, over the past year, Comichaus has been working with the British Library to ensure that digital comics submitted to the Comichaus app can also be sent to the British Library (with the publisher’s consent) in fulfilment of Legal Deposit obligations. This helps the Library ensure that its collections reflect the diversity of UK independent comics, ensures that the comics will be preserved long-term, and means that they are available and discoverable in the Reading Rooms of the British Library and the five other UK Legal Deposit Libraries (the National Library of Scotland, National Library of Wales, Bodleian Library at Oxford University, Cambridge University Library and the Library of Trinity College Dublin).

 We're excited to see the first digital comics arrive in this way, and look forward to watching our collections of UK comics expand with more digital comics. Our work with Comichaus is one example of the ways in which digital legal deposit helps us extend the breadth of our collecting for UK publications. You can find out more about how legal deposit works on our new web pages at https://www.bl.uk/legal-deposit  

28 February 2018

Legal Deposit in 12 panels

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Olivia-comic-websmall

Last month, Olivia Hicks completed a 3 month PhD placement at the Library, investigating our collections of 21st century British comics. You can read more about how this project started in Olivia's blog post at http://blogs.bl.uk/socialscience/2017/12/21st-century-british-comics.html. In this post, Olivia describes the creation of a comic for comics creators, explaining Legal Deposit - and helping to build our collections.

Olivia Hicks is a second year PhD student at the University of Dundee. Her PhD focuses on the superheroine in British and American girls' comics. Her favourite superhero is the Spoiler, alias of Stephanie Brown, because they both love waffles and are penniless students.

  Olivia-comic-2-websmall

For the first two months of my placement here in the Library, I kept things fairly academic. I regularly went into the reading room, digging up old zines and small press comics – everything from roughly printed, handmade artefacts to glossy, professional-looking publications. I supplemented my research on 21st century British small press comics with plenty of serious and studious academic reading, learning from the grand-daddies of British comics scholarship, David Huxley and Roger Sabin. I complemented this by compiling my data into pretty (if slightly incomprehensible) graphs, which intricately detailed the gender and regional location of each creator I came across. My aim was to use ‘best of British comics’ anthologies as a representative sample for the comics industry; to try and gain an understanding of who was producing comics, and where.

Of course, these books are inherently curatorial, which problematizes the use of them as definitive statements on the UK comics scene. As a humanities student, this made them even more fascinating; what was the vision of UK comics that people were choosing to present. I spent my days poring over the editorials, introductions and statements of intent which accompanied these volumes. They provided a view of Britishness that was varied, and, in the volumes published in the wake of Brexit, increasingly unstable. However, because the Library’s collection of 21st century comics is both overwhelmingly large and also somewhat incomplete, anthologies represented a manageable microcosm for me to examine over my placement.

This was all well and good, if a little numbers heavy and dry for a final report. But this was only the first two months of my placement. The final month was completely different.

Ian, my supervisor, agreed to let me try and aid the Library’s collecting by creating a comic to raise awareness amongst comics creators of the legal deposit system, and that it is a legal requirement for them to deposit their work in the Library. The final month my desk space, already quite messy, became swamped in pencilled pages and I could regularly be found at my desk, headphones in, inking something which was at first, quite incomprehensible to the rest of the office, but which has slowly morphed into a wee comic which is silly, colourful, but packed to the gills with information about the legal deposit. The completed comic is now displayed above my (still messy) desk, and hopefully will serve as a reminder for the next PhD student to not be afraid to get creative with the placement. While my report findings will interest relatively few, the comic has taken on a life of its own in the office, and has encouraged lots of interest in the Library’s online and physical comics collection. By finding a creative angle to compliment your more serious output, you can broaden the audience for your research and get more people engaged, which is the aim for any academic, and indeed, for the Library as an institution. What can I say, the sky is blue, water is wet and people love comics!

Olivia-comic-3-websmall

All images in this post from The Legal Deposit and You, by Olivia Hicks (coming to the British Library's website soon)

  

17 December 2017

21st Century British Comics

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Wilma-for-web
Wilma, Ashling Larkin, Ink Pot Studio, University of Dundee

Hello! My name’s Olivia Hicks and I am the latest in the long line of British Library PhD Placements – this time based in the Contemporary British Collections Department and looking at 21st Century British Comics.

The placement follows the logic that the vast majority of comics produced in the Britain are not available at newsagents – the traditional place of comics retail – in fact, it’s unclear how many of them are even available in specialist comics shops. Thus traditional methods of examining a country’s comics culture (namely looking at the readily available published material), are slightly defunct. Therefore, to get a full understanding of British comics in the new millennium, it is important to examine not only the comics output of DC Thomson and 2000AD but also small press comics and independent creators. These alternative comics are currently blossoming in Britain; but what are they about, who’s making them, who are they for, where are they being made and where can they be found? 

Being let loose in the largest scholarly sandbox in Britain is an exercise is discipline and restraint. It is a fine line between ambitiously aiming to make the very most of this exceptional opportunity, and bearing in mind that it is only three months (and it has to be useful). It is easy, in such circumstances, to get lost.

In order to combat this, I drafted a research proposal before coming to the Library, identifying the kind of questions and themes that seemed to me particularly pertinent. Then, throughout the first few weeks (has it been four weeks already? Nooooo), I began, in cooperation with the Library, to identify outputs. Some of these outputs had already been identified and agreed upon beforehand (in our case a report and a comic), but others made themselves apparent as I began the placement. 

 The first, and most important output, is of course the report, where I will attempt to answer some of the questions asked in the second paragraph. The questions are a good mix between those that the Contemporary British Collections Department are particularly interested in, and those which will feed back nicely into my PhD (namely, as a girls comics scholar, it is helpful to understand how women are represented, and how girls are currently catered to). 

The second output will be two comics; one will aim to summarise the findings of the report into an easily accessible format for members of the public. The second comic will be for comics creators, explaining how their work falls under the legal deposit scheme. In this way we hope to rectify what is one of the biggest hurdles for studying 21st century British comics and preserving them for future generations – getting small press and independent comics into the Library’s collection.
This is a brief summary of the work I hope to carry out over the next two months. If you have any comments or queries, or simply want to talk more about comics (especially girls’ comics or superhero comics!), please get in touch at olivia.hicks@bl.uk.

See also: Earlier this year, Jen Aggleton explored digital comics publishing in the UK. You can find more details of this project in blog posts on digital comics in the UK and creating a web archive collection of digital comics.