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Generation Gehetzt W a R Um C O O L S E I N K E I N E L Ö S U N G I S T Fr 10,30 Ember 2011 S V # 0 3 / 1 1 MISSY MAGAZINE GENERATION GEHETZT W A r um C o o l S e i n k e i n e l ö S u n g i S T fr 10,30 EMBER 2011 S V O N C / • ER B O 4 5,60H ,90 € € OKT / A • 03/11 n e ue C omedy-Fr A u e n 5,80T € # SEPTEMBER Deutschland b m x - F A H r e r i n n e n L P l A TT e n S P i e l e r b A C k e n J o l l y g o o d S + m u S i k , F i l m , k u n S T P o l i T i k , d i y & m e H r 4 197931 304904 03 e ditorial l iebe eserinnen, liebe leser, egal, ob es im Sommer wie aus kübeln schüttet oder die Sonne kleine Hautkrebslöcher in die bräune brennt: Was gibt es Schöneres, als sich mit einem richtig guten Comic unter den Sonnenschirm oder eine wärmende decke zurückzuziehen? ob epische graphic novels, lustige Cartoons oder künstlerische Comiczines – wir haben in unserem dossier die besten aktuellen bildgeschichten zusammengestellt und beleuchten auch die bewegte Herstory des mediums. das einzige Problem: Zum Comiclesen braucht man Zeit – und wer hat die heute schon? Zwischen uni, Job, Praktikum, sozialen und familiären Verpflichtungen strampeln wir uns ab in Sachen Selbst- optimierung, um bloß nicht den Anschluss zu verlieren. Aber den Anschluss an was? nina Pauer (28) und katja kullmann (41), Autorinnen zweier neuer bücher zur Flexibilisierung der gesellschaft und den Angstzuständen, in die uns das versetzt, erklären im gespräch, was in der Vergangenheit falsch gelaufen ist und warum uns dieser egotrip nicht weiterbringt. Wir haben uns natürlich vor allem für euch abgestrampelt. und das ist durchaus wörtlich gemeint: Wir sind in köln bei einem bmx-Turnier gewesen, haben ein Fahrrad gepimpt, die spannendsten Flecken in istanbul besucht, kuchen in Plattenspielerform gebacken und sexuelle orientierungen ge- testet – okay, also jetzt nicht alles direkt wir selbst, sondern eher unsere unermüdlichen Autorinnen und mitarbeiterinnen. Aber lest und seht selbst. eure redaktion )))))))))))))))))))))))))) die nächste missy erscheint am 14. november 2011 ((((((((((((((((((((((((((((( Coverillustration: Sharmila Banerjee ieSm P r S u m 0 3 / 1 1 Redaktion: Sonja Eismann, Chris Köver, Stefanie Lohaus; Herausgeberinnen: Sonja Eismann, Chris Köver, Stefanie Lohaus, Margarita Tsomou Artdirektion: Daniela Burger; Assistenz: Léa Marchet; Bildchefin: Hedi Lusser korrektorat: Dörte Kanis, Iris Weißenböck; redaktionelle mitarbeit: Ana Maria Michel Text: Helena Adamek, Simone Bauer, Dominique Dufner, Kendra Eckhorst, Ann-Kathrin Eickhoff, Jonas Engelmann, Sonja Erkens, Regine Glaß, Elise Graton, Nicole Hoffmann, Isabelle Krainer, Verena Kuni, Katharina Ludwig, Heike Müller, Cornelia Möser, Christina Mohr, Barbara Mürdter, Lilian Muscutt, Didem Ozan, Amelie Persson, Hannah Pilarczyk, Maria Preußner, Arno Raffeiner, Felicia Reinstädt, Verena Reygers, Sabine Rohlf, Bettina Schuler, Gabi Scholz, Barbara Schulz, Malin Schulz, Imke Staats, Tim Stüttgen, Britta Voß, Nicole Vrenegor, Martin Wassermair, Bettina Wilpert, Carina Wolfram, Romy Zips Foto: Felix Amsel, Maro Kouri, Katja Ruge, Saja Seus, Sandra Stein, Rahel Zander illustration: Ana Albero, Sharmila Banerjee, François Blanciak, Greta Gröttrup, Hedi Lusser, Elisabeth Moch; Comic: Sharmila Banerjee Mode: Produktion: Maria Braun Productions; Fotografie: Robert Klebenow, Assistenz: Judith John; Konzept & Styling: Dörte Lange; Hair & Make-up: Anne Grabow Litho: prints-professional, Jan Scheffler & Kerstin Wenzel GbR, Berlin Dank an: Susanne Bürner, Rike Drust, Hartmut Schwarz und alle anderen, die uns mit kritischem Feedback unterstützt und begleitet haben. V e r l A g missy magazin gbr: Oranienburger Str. 91, 10178 Berlin. Tel. +49 (0) 30 / 20 09 53 28, [email protected], www.missy-magazine.de geschäftsführerinnen: Stefanie Lohaus, Chris Köver Anzeigen: Margarita Tsomou (Marketing & Sales Director), [email protected], +49 (0) 30 / 20 09 53 09. Sabine Schulze-Berge (Advertising Sales Manager), [email protected], +49 (0) 30 / 20 09 53 28. Andrea Pritschow +49 (0) 221 / 99 87 90 78, Aktuelle Anzeigenpreisliste: 01.10.2010 Vertrieb: DPV Network GmbH, www.dpv-network.de. Missy ist in allen Bahnhofs- und Flughafen-Handlungen im Bundesgebiet, der Schweiz und Österreich sowie in gut sortierten Verkaufsstellen größerer Städte erhältlich. Sollte Ihr Zeitschriftenhandel Missy nicht führen, können Sie die aktuelle Ausgabe beim Missy-LeserInnen-Service anfordern. druck: Neef + Stumme premium printing GmbH & Co. KG, Schillerstraße 2, 29378 Wittingen merchandise: Kerrin Gappmayer, [email protected] Abonnement: Jahresabo 18 Euro (Inland), 27 Euro (Ausland), weitere Preise auf Anfrage: www.missy-magazine.de/abo, [email protected] leserinnen-Service: [email protected]. Missy-LeserInnen-Service, carnivora Verlagsservice GmbH & Co. KG, Gneisenaustr. 33, 10961 Berlin, Tel.: +49 (0) 30 / 74 78 62 642 Dieses Magazin wurde auf umweltfreundlichem, chlorfrei gebleichtem Papier gedruckt. 37 d ossier RU T S C H RÜ BER , WONDERWO MAN! Comics sind nur was für Typen mit brille, und die darin erzählten geschichten sind kindisch, brutal oder sexistisch? Alles käse! denn seit beginn des mediums gibt es zahllose ladys, die ihre ganz eigenen Visionen aufs Papier werfen. und im moment explodiert die Szene geradezu! eine kleine kartografie der geschichte und gegenwart weiblicher Comickultur. Illustration Ana Albero Diese Karte hat keinen Anspruch auf Vollständigkeit d ossier 38 39 „Dynamite Damsels“ von Roberta Gregory die erste lesbische Under- V O N MO P S Y ground-Comicserie. Beide werden zum Vorbild für Alison Bechdel, de- ren Comicstrip „Dykes To Watch Out For“ über eine Gruppe lesbi- ZU PER S EPOLIS scher Frauen von 1983 bis 2008 re- gelmäßig erscheint und weltbekannt ib m ilddepot unserer Popkultur ist der mensch, der wird. Erst nach dem noch größeren Erfolg ihrer autobiografischen Gra- obsessiv zeichnet, Comicheftchen sammelt und von Wonderwoman phic Novel „Fun Home“ stellt Bech- träumt, meist ein Typ. dabei gab es von Anfang „It Ain’t Me Babe“ #1, 1970; „Tits & Clits“ #2, 1976 del die Serie ein, um mehr Raum für andere Arbeiten zu schaffen. an auch Zeichnerinnen, die mitgemischt haben. eine Hommage siven Klima bringt erst die Underground- Die Verknüpfung von Themen Comicrevolution der 1970er-Jahre. Comics der Frauenbewegung mit dem Me- an die königinnen des Comics. heißen nun Comix und bilden alles ab, was dium Comic, wie die „Wimmen’s Von vorher tabuisiert war: Sexualität, Drogen- Comix“ sie geschaffen haben, wird konsum, Gewalt. auch in Europa aufgegriffen, wo Jonas Engelmann Zwar haben sich die Comix damit von Claire Bretécher ab 1973 die Serie gesellschaftlichen Normen befreit, die Ge- „Die Frustrierten“ zeichnet. Ihre Aus Phoebe Gloeckner: „A Child’s Life and schlechterverhältnisse in der Szene bleiben vorherigen Arbeiten für Magazine Other Stories“, 2000 Comiclandschaft für Frauen noch verschlos- rina Robbins, as Tolle als Koloristinnen T aber die gleichen. Trina Robbins beschreibt wie „Tintin“, „Spirou“ oder „Pilote“ © an Comics sener als die US-amerikanische. Dort gibt es oder Texterinnen – die Szene in San Francisco als Männerclub, hatte sie noch mit Bretécher sig- ist ihre mit Nell Brinkley, die in den 1910er-Jahren wie beispielsweise der in seinen Strips Gewalt gegen Frauen niert, um nicht als Frau identifiziert zu werden. Anke Feuchtenberger, Ulli Lust Direkt heit: als Illustratorin beim „New York Evening Patricia Highsmith, abbildet und Frauen, die dies kritisierten, Mit „Die Frustrierten“ beendet sie nicht nur die- oder Debbie Drechsler arbeiten, D die alle später mit eigenen Ar- Jede/r versteht sie sofort. Frauen Journal“ beginnt und die temperamentvol- die in den 40ern fehlenden Humor bescheinigt. Robbins star- ses Versteckspiel. In ihren Alltagsgeschichten, haben diese Eigenschaft schon len, unabhängigen „Brinkley Girls“ schafft, Abenteuer für den tet daraufhin ihren eigenen Comic: 1970 er- die ironisch das linksintellektuelle feministische beiten bekannt werden. Die US- früh erkannt. Die erste weibli- immerhin eine „Queen of Comics“ – die spä- Superhelden Black scheint mit „It Ain’t Me Babe“ das erste Heft Milieu von Paris porträtieren, prägt sie auch ei- Amerikanerin Drechsler, die sich che Cartoonistin und Frauen- ter trotzdem in Vergessenheit gerät. Erst Terror verfasst, be- mit ausschließlich von Frauen gezeichne- nen eigenen Stil, der sich stark von der in Euro- ästhetisch am Underground- rechtlerin Rose O’Neill appelliert die geschichtsbewusste Zeichnerin Trina vor sie als Krimiau- ten Strips. Aus diesem Projekt entsteht die pa dominierenden Ligne Claire unterscheidet Comic orientiert, führt in ihren schon 1915 in einem Cartoon mit Robbins (*1938) hat die „Brinkley Girls“ mit torin weltberühmt bis 1992 existierende Heftreihe „Wimmen’s und den Text in den Mittelpunkt stellt. Auch in Comics die Themen dieser Sze- süßen kleinen Babys als politi- einer Neuausgabe vor wenigen Jahren wie- wird. Die Produktion Comix“, für Deutschland entwickelt sich mit Marie Marcks ne weiter und beschäftigt sich in schem Sprachrohr: „Give Mother der zugänglich gemacht. „Mopsy“ #1, 1948 attraktiver Frauen Auf einmal fangen die im Lau- (siehe Interview S. 45) und Franziska Becker in „Daddy’s Girl“ (1996) mit sexuel- the vote! Our food, our health, In den 1920er-Jahren werden solche im Comic ist jedoch fe der Jahre den 1970ern eine fe- lem Missbrauch. our play, our homes, our schools, unabhängigen Frauenfiguren im Comic von Männern vorbehal- Frauen auf K ü n s t l e r i n - ministische Comic- Bis heute nutzen Frauen our work are ruled by men’s der Ausnahme zur Regel: Charaktere wie ten – und die bedie- der ganzen Welt an, nen wie Aline sprache, die sich den Comic, um solche Themen votes.“ O’Neill wird zum Vorbild Flapper Fanny von Ethel Hays oder Mopsy nen damit die Fan- K o m i n s k y - stärker als in den in Bilder umzusetzen, die sonst für eine erste Generation ame- von Gladys Parker spiegeln das neue Selbst- tasien der jungen Comics zu Crumb, Lee USA und Frank- in der Popkultur meist ausge- rikanischer Comiczeichnerin- bewusstsein der US-Amerikanerinnen nach männlichen Leser.
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