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08-09 novembre 2018ArgumentaireCr&#233;&#233; &#224; l&#8217;initiative de la r&#233;dactrice Karen Berger, le label Vertigo de DC Comics na&#238;t en 1993 du rassemblement de six s&#233;ries d&#233;j&#224; en cours de parution, parmi lesquelles Swamp Thing, Doom Patrol et Sandman. Ces s&#233;ries se distinguent aupr&#232;s du lectorat de comics par leurs r&#233;cits originaux et ambitieux, qui s&#8217;appliquent &#224; briser les conventions g&#233;n&#233;riques et narratives de l&#8217;&#233;poque. La plupart de ces textes sont le fait d&#8217;auteurs britanniques, recrut&#233;s par DC suite au succ&#232;s d&#8217;Alan Moore sur Swamp Thing (1983-85) puis Watchmen (1986-87), et qui forment l&#8217;essentiel de ce que l&#8217;on appelle parfois l&#8217;&#171;&#160;Invasion britannique&#160;&#187;.Sur la base de ces s&#233;ries, le label grandit rapidement et se forge une identit&#233; propre, &#224; la crois&#233;e des chemins entre le comics grand public (mainstream) et le secteur ind&#233;pendant. Il s&#8217;&#233;rige en fer de lance des innovations voulues par la pr&#233;sidente de DC Comics, Jenette Kahn, laquelle a &#224; c&#339;ur la d&#233;fense du statut des cr&#233;ateurs‧trices mais aussi celle du m&#233;dia lui-m&#234;me, dont elle revendique la dimension artistique. Cette d&#233;fense passe notamment par la mise en avant de s&#233;ries creator-owned, c&#8217;est-&#224;-dire appartenant aux cr&#233;ateurs plut&#244;t qu&#8217;&#224; la maison d&#8217;&#233;dition. &#160;Outre ses succ&#232;s initiaux, Vertigo devient dans les ann&#233;es 2000 le lieu de nombreuses cr&#233;ations originales comme Y, the Last Man, Fables ou encore 100 Bullets. Le label influence durablement l&#8217;industrie de la bande dessin&#233;e am&#233;ricaine&#160;; il ouvre l&#8217;&#232;re des sc&#233;naristes-stars l&#224; o&#249; c&#8217;&#233;tait auparavant les dessinateurs qui recevaient l&#8217;attention du public&#160;; il popularise le format &#233;ditorial du recueil reli&#233; (&#171;&#160;trade paperback&#160;&#187; ou parfois graphic novel), qui joue un r&#244;le central dans la l&#233;gitimation du m&#233;dia&#160;; enfin, il conteste l&#8217;h&#233;g&#233;monie du genre super-h&#233;ro&#239;que et annonce de profonds changements dans la d&#233;mographie des lecteurs‧trices de bande dessin&#233;e.&#160;&#160;&#160;&#160;Cependant, au fil du temps, Vertigo perd de sa sp&#233;cificit&#233;. Ses cr&#233;ateurs phares se tournent vers d&#8217;autres &#233;diteurs &#8211; ainsi, Brian K. Vaughan part r&#233;aliser Saga pour Image, tandis que&#160; Garth Ennis d&#233;veloppe The Boys chez Wildstorm puis Dynamite Entertainment quand DC annule la s&#233;rie.&#160;En 2013, Karen Berger quitte le label apr&#232;s la restructuration &#233;ditoriale de 2010 qui modifie les contrats propos&#233;s aux cr&#233;ateurs‧trices et ampute le label de ses s&#233;ries non creator-owned. Shelly Bond, derni&#232;re membre de l&#8217;&#233;quipe &#233;ditoriale originale, est remerci&#233;e en 2016 apr&#232;s avoir assist&#233; Gerard Way dans la mise en place de son nouveau label, Young Animal, dont la moiti&#233; des titres sont d&#233;riv&#233;s de s&#233;ries Vertigo des ann&#233;es 1990, tandis que Vertigo lui-m&#234;me peine &#224; se renouveler.Vingt-cinq ans plus tard, le label existe toujours mais a d&#233;j&#224; laiss&#233; derri&#232;re lui un vaste h&#233;ritage&#160;: un grand nombre de professionnel‧le‧s du milieu y ont fait leurs armes, officiant maintenant chez d&#8217;autres &#233;diteurs o&#249; ils/elles mettent &#224; profit les enseignements appris sous la tutelle de Karen Berger et Shelly Bond. Ces deux derni&#232;res ont d&#8217;ailleurs entrepris de poursuivre leur activit&#233; chez des &#233;diteurs concurrents de DC&#160;: Berger Books d&#233;butera d&#233;but 2018 chez Dark Horse et Black Crown, le label de Shelly Bond, a r&#233;cemment commenc&#233; sa publication chez IDW.Ce premier colloque fran&#231;ais consacr&#233; au label Vertigo &#224; l&#8217;aube de son vingt-cinqui&#232;me anniversaire est donc l&#8217;occasion d&#8217;explorer toutes ces pistes sous les approches les plus vari&#233;es. Les intervenant‧e‧s seront particuli&#232;rement invit&#233;‧e‧s &#224; aborder les points suivants&#160;:V for Vertigo&#160;: coh&#233;rence et sp&#233;cificit&#233; (ou perte de sp&#233;cificit&#233;) de Vertigo par rapport aux autres &#233;diteurs et labels (la maison-m&#232;re DC Comics, ses labels Helix et Wildstorm, les concurrents Image Comics, Avatar Press, Marvel Max...).Vertigo Revisited&#160;: Vertigo et l&#8217;&#233;volution du secteur de la bande dessin&#233;e contemporaine vers une interm&#233;dialit&#233; plus intense (adaptations t&#233;l&#233;visuelles et vid&#233;oludiques, produits d&#233;riv&#233;s, etc.).Vertigo Vindicates&#160;: le r&#244;le de Vertigo dans l&#8217;&#233;volution de la l&#233;gitimit&#233; du m&#233;dia et la remise en cause de l&#8217;opposition dialectique high/low.The British Invasion&#160;: importance des sc&#233;naristes d&#8217;origine britannique et mises en sc&#232;ne de la britannicit&#233; au sein du corpus et du paratexte.Vertigo Visions&#160;: r&#244;le du label dans le renouveau de la production &#233;tats-unienne sur les plans g&#233;n&#233;rique, narratif, etc.Editors Extraordinaire&#160;: le r&#244;le de Jenette Kahn, Karen Berger et Shelly Bond.L, G, B, T, V&#160;: la f&#233;minisation du lectorat de Vertigo et la place des discours f&#233;ministe et queer au sein du label.Modalit&#233;s de soumissionLes propositions reposant sur l&#8217;analyse d&#8217;une s&#233;rie en particulier seront accept&#233;es &#224; la condition qu&#8217;elles s&#8217;efforcent de mettre en perspective le r&#244;le de ladite s&#233;rie dans l&#8217;&#233;volution du label.Le colloque se tiendra les 8 et 9 novembre 2018 &#224; la Maison des Sciences de l&#8217;Homme, sur le campus dijonnais de l&#8217;Universit&#233; de Bourgogne Franche-Comt&#233;. Les interventions dureront 30 minutes maximum, et pourront &#234;tre donn&#233;es en fran&#231;ais ou en anglais.Les propositions de communication d'environ 300 mots, en fran&#231;ais ou en anglais, accompagn&#233;es d'une courte bio-bibliographie, devront parvenir au comit&#233; d&#8217;organisationavant le 8 avril 2018.Comit&#233; d&#8217;organisationIsabelle Licari-Guillaume (Universit&#233; Bordeaux Montaigne) isabel.guillaume@gmail.comSiegfried W&#252;rtz (Universit&#233; de Bourgogne Franche-Comt&#233;) siegfried.wurtz@gmail.comComit&#233; scientifiqueJean-Paul Gabilliet, Universit&#233; Bordeaux MontaigneHenri Garric, Universit&#233; Bourgogne Franche-Comt&#233;Nicolas Labarre, Universit&#233; Bordeaux MontaigneIr&#232;ne Langlet, Universit&#233; de LimogesBibliographie indicativeCarpenter, Greg. The British Invasion: Alan Moore, Neil Gaiman, Grant Morrison, and the Invention of the Modern Comics Book Writer. Sequart Research &#38; Literacy Organization, 2016. Print.Dony, Christophe. &#8220;Reassessing the Mainstream vs. Alternative/Independent Dichotomy or, the Double Awareness of the Vertigo Imprint.&#8221; Comics in Dissent: Alternative, Independence. Ed. Tanguy Habrand, Gert Meesters, and Christophe Dony. Li&#232;ge: Presses universitaires de Li&#232;ge, 2014. Print.----. &#8220;The Rewriting Ethos of the Vertigo Imprint: Critical Perspectives on Memory-Making and Canon Formation in the American Comics Field.&#8221; Comicalit&#233;s (2014): n. pag. Web. 20 Sept. 2014. &#60;http://comicalites.revues.org/1918&#62;.Gabilliet, Jean-Paul. Des comics et des hommes: histoire culturelle des comic books aux &#201;tats-Unis. Nantes: &#201;d. du Temps, 2004. Print.Licari-Guillaume, Isabelle. &#8216;Vertigo&#8217;s British Invasion&#8217;: La revitalisation par les sc&#233;naristes britanniques des comic books grand public aux &#201;tats-Unis (1983-2013). Th&#232;se de doctorat. Universit&#233; Bordeaux Montaigne, 2017. Print.Round, Julia. &#8220;&#8216;Is This a Book?&#8217; DC Vertigo and the Redefinition of Comics in the 1990s.&#8221; The Rise of the American Comics Artist: Creators and Contexts. Ed. Paul Williams and James Lyons. Jackson: University Press of Mississippi, 2010. 14&#8211;30. Print.2018, November 08-09&#160;ArgumentThe Vertigo Imprint was born in 1993 under the guidance of DC editor Karen Berger; it initially brought together six ongoing series published by DC Comics, notably Swamp Thing, Doom Patrol and Sandman. Those wildly successful series were praised for their original, ambitious storylines that sought to break free from narrative and generic conventions.&#160; Most of these comics were scripted by British authors whom DC had recruited following Alan Moore&#8217;s success on Swamp Thing and Watchmen, forming the bulk of what was known as the &#8220;British Invasion&#8221;.&#160; From just six ongoing series, Vertigo soon extended its line, establishing itself as a halfway house between the mainstream comics industry and the alternative / independent scene. Vertigo defined its identity as that of a game-changer, championing the progressive ideas put forward by DC&#8217;s president Jenette Kahn, who had been instrumental in the reconsideration of creators and in the legitimisation of the comics medium. Vertigo&#8217;s most visible commitment was its decision to develop many creator-owned series, whose rights belonged to creators rather than publishers. Beyond its initial success, Vertigo in the 2000s was a home for widely recognized original creations such as Y, the Last Man, Fables or 100 Bullets. The imprint left a lasting mark on the US comics industry; it ushered the era of star writers, contrasting with the focus on artists that characterised earlier periods; it pioneered the trade paperback format (TPB, sometimes called &#8220;graphic novel&#8221;) which played a central role in the medium&#8217;s struggle for legitimacy; finally, it destabilized the hegemony of the superhero genre and paved the way for major changes in readers demographics.&#160;&#160; &#160;&#160;&#160;However, in recent years, Vertigo&#8217;s specific identity began to wane. Some of its major creators turned to other publishers &#8211; for instance, Brian K. Vaughan&#8217;s best-selling series Saga is being published by Image Comics, while Garth Ennis developed The Boys for Dynamite Entertainment after DC (outside Vertigo) cancelled it. Crucially, in 2013, Karen Berger left the imprint after the 2010 changes that modified creators&#8217; contracts and stripped Vertigo of all its corporate-owned series. The last member of the original Vertigo team, Shelly Bond, was let go in 2016 after she helped Gerard Way set up his new imprint at DC, Young Animal, whose initial four ongoing series included two Vertigo spin-offs, while Vertigo struggled to renew itself.&#160;Twenty-five years after its creation, the label is still standing and has already left a substantial mark. Many of the industry&#8217;s top professionals who debuted under Berger and Bond&#8217;s stewardship now occupy important positions at other publishers, continuing Vertigo&#8217;s legacy. Berger and Bond themselves went on to create their own imprints outside of DC : Berger Books is set to debut in early 2018 with Dark Horse, while Shelly Bond&#8217;s Black Crown began publishing under IDW.&#160;During this first French symposium entirely dedicated to Vertigo on the occasion of its twenty-fifth birthday, presenters are invited to tackle these issues from all methodological angles. Although all approaches are welcome, suggested areas of investigation include:V for Vertigo: The consistence and specificity (or lack thereof) of the Vertigo line as opposed to other publishers and imprints (DC&#8217;s own DC universe, its imprints Helix and Wildstorm, and rivals such as Image comics, Avatar Press, Marvel Max&#8230;);Vertigo Remediated: Vertigo and the contemporary developments of the comics industry towards more transmedial integration (through TV adaptations, video games, etc.);Vertigo Vindicates: Vertigo&#8217;s legitimizing role and the evolution of the highbrow / lowbrow divide; The British Invasion: the importance of British scriptwriters in the comics industry and the depiction of Britishness in the comics and their paratext;Vertigo Visions: the importance of Vertigo in the renewal of American production in terms of genre, narrative etc.;Editors extraordinaire: the role played by Jenette Kahn, Karen Berger and Shelly Bond;L, G, B, T, V : queer and feminist discourses within the imprint.Proponents wishing to focus on an individual title are invited to focus on the significance the title has in Vertigo&#8217;s history, how it compares to other comics with the same theme or period, and how it sheds light on the editorial development of the imprint.The symposium will be held on November 8th and 9th at the Maison des Sciences de l&#8217;Homme at Universit&#233; de Bourgogne Franche-Comt&#233; in Dijon, France. Presentations can be given in French or in English and should not last longer than 30 minutes in order to allow time for questions.Submission guidelinesProposals should be approximately 300 words long, and can be sent in French or in Englishbefore April 8th 2018along with a short bio-bibliography.Please send proposals to both members of the organising committee,Organising committeeIsabelle Licari-Guillaume (Universit&#233; Bordeaux Montaigne) isabel.guillaume@gmail.comSiegfried W&#252;rtz (Universit&#233; de Bourgogne Franche-Comt&#233;) siegfried.wurtz@gmail.comScientific CommitteeJean-Paul Gabilliet, Universit&#233; Bordeaux MontaigneHenri Garric, Universit&#233; de Franche-Comt&#233;Nicolas Labarre, Universit&#233; Bordeaux MontaigneIr&#232;ne Langlet, Universit&#233; de LimogesSuggested bibliographyCarpenter, Greg. The British Invasion: Alan Moore, Neil Gaiman, Grant Morrison, and the Invention of the Modern Comics Book Writer. Sequart Research &#38; Literacy Organization, 2016. Print.Dony, Christophe. &#8220;Reassessing the Mainstream vs. Alternative/Independent Dichotomy or, the Double Awareness of the Vertigo Imprint.&#8221; Comics in Dissent: Alternative, Independence. Ed. Tanguy Habrand, Gert Meesters, and Christophe Dony. Li&#232;ge: Presses universitaires de Li&#232;ge, 2014. Print.----. &#8220;The Rewriting Ethos of the Vertigo Imprint: Critical Perspectives on Memory-Making and Canon Formation in the American Comics Field.&#8221; Comicalit&#233;s (2014): n. pag. Web. 20 Sept. 2014. &#60;http://comicalites.revues.org/1918&#62;.Gabilliet, Jean-Paul. Des comics et des hommes: histoire culturelle des comic books aux &#201;tats-Unis. Nantes: &#201;d. du Temps, 2004. Print.Licari-Guillaume, Isabelle. &#8216;Vertigo&#8217;s British Invasion&#8217;: La revitalisation par les sc&#233;naristes britanniques des comic books grand public aux &#201;tats-Unis (1983-2013). Th&#232;se de doctorat. Universit&#233; Bordeaux Montaigne, 2017. Print.Round, Julia. &#8220;&#8216;Is This a Book?&#8217; DC Vertigo and the Redefinition of Comics in the 1990s.&#8221; The Rise of the American Comics Artist: Creators and Contexts. Ed. Paul Williams and James Lyons. Jackson: University Press of Mississippi, 2010. 14&#8211;30. Print.