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Comics and Novelization
This book opens a novel perspective on comics and literature interactions. It claims that the two artistic media have always maintained a mutual emulation, for as long as they have coexisted in media culture. To demonstrate this, the present research does not focus on literary adaptations in comics form but rather on a literary corpus that remains virtually unexplored: comics-related novels. The purpose of this volume is to inventory French comics-related novels and to study them. Within the limits of the French-speaking world, this book pieces together a literary history of bande dessinée through its novels, from the nineteenth to twenty-first centuries. Although the comic strip – including the aptly named "graphic novel" – has sometimes been regarded as the disciple of an unsurpassable literary model, do these under-studied adaptations in novel form not rather indicate a mutual relationship, or even an emulation, between the two media?
Die Laughing
This is a collection of darkly comic standalone strips by a cartoonist Herge (Tintin) idolized. Die Laughing, which is executed in stark black and white, takes aim at everyone and everything in its scathing critique of modern life, but is particularly ruthless toward animal abusers, the military industrial complex, and death penalty enthusiasts. Franquin’s loose but meticulous line work features expressionistic shadows and silhouettes that infuse his depressed, repressed, and oppressed characters with a disturbing manic energy. Die Laughing is filled with visual gags and gag-inducing visuals that will haunt you.
Animation in Europe
There is a lot one could say about animation in Europe, but above all, there is no consistent European animation. It is as disparate as the various countries involved. Audiences will certainly recognize American or Japanese animation, but in Europe, it can range from Czech, Polish, and Hungarian to Greek, Italian, Spanish, Portuguese, French, and British. Animation in Europe provides a comprehensive review of the history and current situation of animation in over 20 European countries. It features numerous interviews with artists and producers, including rare documents and firsthand accounts that illustrate the rich history of animation in Europe. Additional features include • An extensive chronology with key events in European animation • A Who’s Who of producers, directors, writers, and animators working in Europe • An examination of the origin of European animation and its influence Animation in Europe is the first book devoted entirely to this topic and, therefore, will be of value for animation buffs as well as practitioners and researchers.
Masters of the Ninth Art
In English-speaking countries, Francophone comic strips like Hergés's Les Aventures de Tin Tin and Goscinny and Uderzo's Les Aventures d'Asterix are viewed—and marketed—as children's literature. But in Belgium and France, their respective countries of origin, such strips—known as bandes dessinées—are considered a genuine art form, or, more specifically, "the ninth art." But what accounts for the drastic difference in the way such comics are received? In Masters of the Ninth Art, Matthew Screech explores that difference in the reception and reputation of bandes dessinées. Along with in-depth looks at Tin Tin and Asterix, Screech considers other major comics artists such as Jacque Tardi, Jean Giraud, and Moebius, assessing in the process their role in Francophone literary and artistic culture. Illustrated with images from the artists discussed, Masters of the Ninth Art will appeal to students of European popular culture, literature, and graphic art.
French Cartoon Art in the 1960s and 1970s
Pilote’s unique position in a new and fast developing youth press market The French comic magazine Pilote hebdomadaire arrived in a weakening comics market in 1959 largely dominated by syndicated translations of American comics and comics inspired by a Catholic ethos. It tailored its content and tone to an older adolescent reader far removed from that of France’s infant comic. Pilote’s profile set it on a turbulent course subject to the vicissitudes and fickleness of fashion which situated it within an emerging teenager press under pressure to renew and innovate to survive. When it made cartoons its defining characteristic in 1963, Pilote articulated its uniqueness by channelling teena...
Bande dessinée franco-belge et imaginaire colonial
Née outre-Quiévrain dans le sillage d'Hergé, la bande dessinée dite " franco-belge ", qui s'est imposée par le biais des hebdomadaires Spirou et tintin, a largement fait écho aux préjugés coloniaux. Le cas de Tintin au Congo, publié en 1930, est assez bien connu. Cet ouvrage analysera la production franco-belge de manière plus générale, pour faire notamment ressortir des convergences. On notera que certaines figures reviennent régulièrement d'un épisode à l'autre, depuis les années 1930 jusqu'à la fin des années 1950 : héros européens dominant la nature tropicale, missionnaires " civilisateurs ", porteurs noirs craintifs, pillards " maures " arpentant le désert, ou enco...
Tintin et Spirou contre les négriers. La BD Franco-Belge : une littérature antiesclavagiste ?
Depuis les années 1940, la bande dessinée franco-belge a régulièrement stigmatisé la traite des Noirs et l’esclavage colonial. Deux de ses héros les plus fameux ont ainsi affronté, presqu’au même moment, de redoutables négriers : Tintin dans Coke en stock et Spirou dans Le gorille a bonne mine. D’autres aventuriers de papier les avaient précédés, ou les suivent : Jean Valhardi, Marc Dacier, Barbe-Rouge... Et le thème connaîtra une certaine postérité, à travers une série à succès comme « Les passagers du vent », ou encore la récente adaptation d’un roman d’Eugène Sue : Atar Gull. Mais, selon les époques, l’antiesclavagisme en bande dessinée ne s’appuie ...
De Tintin au Congo à Odilon Verjus
La figure du missionnaire catholique aventureux et " civilisateur " est beaucoup plus répandue qu'on ne pourrait le croire au sein de la bande dessinée belge d'expression française. Elle tient une place éminente dans Tintin au Congo, qui se présente tout autant comme un éloge de l'évangélisation que comme une apologie de la colonisation. Mais beaucoup d'autres héros de papier croisent au cours de leurs exploits un sympathique prêtre barbu en soutane blanche : Tif et Tondu, Blondin et Cirage, Tiger Joe, Marc Dacier, Stany Derval, ou encore M Tric. En outre, un nombre non négligeable de bandes dessinées " historiques " mettent au premier plan des missionnaires : grandes biographies...
