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Perspective Games

Cham's Heritage and Legacy

Philippe Willems

This article draws attention to the transition in print culture that took place between the 1830s and the 1850s, allowing for a new flexibility in format and new relations between word and image. Within this wider context, Cham was an innovator who adapted literary techniques such as mise en abyme, oxymoron and synecdoche to visual storytelling. The article focuses on links between Cham's work and Tristram Shandy: I show how Cham introduces Sterne's reflexivity into his comic strips, using unorthodox framing and inserting blind panels as a deliberate interference in transmission, impeding the reader's privileged point of view. Cham deploys a number of parodic devices to demystify canonical texts: for example, in an incursion across diegetic boundaries, he kills off characters from Victor Hugo's Les Misérables with a few well-aimed swipes from a vast pen.

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The Perfect, Impossible Love

Three Egyptian Film Adaptations of Romeo and Juliet

Rafik Darragi

Islamic sociocultural environment, the director, Salīm, who had already adapted Victor Hugo’s Les Misérables in 1943, set the action in fifteenthcentury Egypt, during the tumultuous reign of the Mamluks, former slave-warriors who rose to become an

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Mark McKinney, Jennifer Howell, Ross William Smith, and David Miranda Barreiro

's Les Misérables , and finds it to be a major and very underappreciated achievement in the history of the graphic novel. Several important themes run through Kunzle's study. They include an argument against the reputed apolitical nature of Cham

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Bande dessinée and the Penal Imaginary

Graphic Constructions of the Carceral Archipelago

Charles Forsdick

that traces of the institution in France itself are relatively rare, in part because most understandings of the institution rely heavily on representations freighted (and regularly distorted) via popular culture (not least Victor Hugo's Les Misérables

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Philip Cowan

or adapt, some they discard. This is what makes authorship in collaborative filmmaking difficult to attribute, for example, dutch-tilts are used during chase and action scenes in Les Misérables (Richard Boleslawski, 1935), a technique that Toland