International Workshop of subproject 5, 6 and 8 of the DFG research unit ‘Journalliteratur’ as well as the AG Fotografieforschung and AG Comicforschung of the German Society for Media Studies (GfM) 

January 20th/21st, 2022 Online via Zoom 

The premise of the workshop is that periodicals, as soon as they became capable of incorporating pictures, have been prone to display not only single, isolated pictures, but most often multiple ones; and to arrange them in typical, possibly media-specific ways. From the late 19th century onwards, photographic images have been frequently featured in periodicals: from the late 19th century onwards, photo-reproduction processes quickly supplanted wood-engraving. As the importance of photojournalism and, consequently, of photographic magazines such as the Berliner Illustrirte Zeitung increased, the influential journalistic genre of the ‘photo reportage’ emerged. American comic strips, as for them, explored novel ways of “juxtapos[ing] pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer,” as Scott McCloud famously defined. Serial novels such as Georges Rodenbach’s Bruges-la-Morte (1892) were published accompanied by a great many photographs. After the turn of the century, the ever-more popular medium of film found an ideal partner in the pages of the periodicals, to transform its moving pictures into a fixed printed form. Throughout the 20thcentury, all these forms have continued to flourish and develop, introducing new modes of serial picture display such as the photonovel or the cinéroman—up to current projects like the Revue dessinée, a news magazine relying solely on comics. Together, these forms raise the questions: how does the sequencing of pictures on a page—and on series of pages—produce meaning? How do still images narrate and produce visual discourses?

This workshop seeks to advance the study of image sequences from a transmedial perspective. Its focus lies on the way in which the medial format of the periodical operates with regards to image sequences: how are images arranged and connected to each other? How do these arrangements and connections produce coherence, the impression of a succession and, very often, even narrative cohesion? 

Organised by Christian Bachmann, Vincent Fröhlich, Iris Haist, Alice Morin, Jens Ruchatz, and Monika Schmitz-Emans.

Please contact us no later than January 15th, 2022 ( if you would like to participate in the discussion without presenting a paper. We will then also provide you with a reader. For more information, visit:


Thursday, 20.01.2022 

Time Zone: Central European Time (UTC +1) 

Opening of the Virtual Conference Room 

Welcome & Opening Remarks 

Keynote I 
Jan Baetens (KU Leuven): 
Photonovel, Film Photonovel, Remix: The Making of Pages, Sequences and Stories 

30 minutes coffee break 

Will Straw (McGill University Montreal): 
Animating the Face: The Photo Sequence in True Crime Periodicals 

Greice Schneider (Universidade Federal de Sergipe): 
Telling Stories with Archives: Building Visual Narratives in Photojournalism 

15 minutes coffee break 

Research Unit ‘Journal Literature’ 
Perusing Periodicals: An Hour with Paper(s) 

Friday, 21.01.2022 

Opening of the Virtual Conference Room 

Keynote II 
Marina Ortrud Hertrampf (Universität Passau): 
Forms, Possibilities, and Limits of Graphic Journalism 

30 minutes coffee break 

Helen Barr (Goethe-Universität Frankfurt a. M.) 
Attempt at Typology: On Visual Narratives in 1920s German Magazines 

Patrick Rössler (Universität Erfurt): 
Deconstructing a Myth: The Relevance of Berliner Illustrirte Zeitung and its Competitors for the Diffusion of a ‘New Vision’ 

15 minutes coffee break 

Concluding Discussion

Please find the programme here.

Diesen Blogbeitrag zitieren
Max Weber Stiftung (2022, 7. Januar). IMAGE SEQUENCING IN PERIODICALS COMICS, PHOTOJOURNALISM, CINÉROMAN, AND ILLUSTRATED FILM PERIODICALS. Fotografieforschung. Abgerufen am 14. Juni 2024, von

Von Max Weber Stiftung

The Max Weber Foundation promotes global research, focused on the areas of social sciences, cultural studies and the humanities. Our research is conducted at ten institutes in various countries across the globe with different and independent fields of focus. Through our globally operating institutes, we are able to contribute to the communication and networking between Germany and our host countries or regions. By promoting academic dialogue and merging academic and non-academic employees from several countries with different cultural backgrounds, the Max Weber Foundation is able to strengthen the internationalization of research.

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