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Reframing European Diasporas in Contemporary France

'Second Generation' Subjectivity and the Road 'Home' in Portugal (2011) and La Commedia des ratés (2011)

Michael Gott

This article examines two graphic novels published in 2011, Portugal by Cyril Pedrosa and La Commedia des ratés [Holy Smoke] by Olivier Berlion, within the thematic and technical context of the French 'return' road movie, an increasingly prevalent category. Recent debates in political, cultural and academic spheres have focused on competing conceptions of Frenchness – traditional republicanism and multiculturalism – as well as the place of the 'second- or third-generation' descendants of immigrants. This article argues that Portugal and La Commedia des ratés, as quasi-autobiographic 'return' to origins narratives, represent compelling insight into the subjectivity of second-generation diasporic populations in France. I will also examine how these works employ the 'ninth art' to create fresh twists on the 'return' story. Finally, I will explore the graphic and narrative depictions of travel in each work, adapting Teresa Bridgeman's theory of 'world building' and 'world-switching' in bande dessinée. I argue that Portugal offers a compelling approach, re-creating on the page the effect of the cinematic 'traveling montage'.

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Matthew Screech, Bart Beaty, Kees Ribbens, and Christina Meyer

Jean-Marie Apostolidès, Dans la Peau de Tintin [‘In Tintin’s Skin’]

Alain Boillat, ed., Les Cases à l’écran: Bande dessinée et cinéma en dialogue [‘Panels on the Screen: Comics and Cinema in Dialogue’]

Viviane Alary and Benoît Mitaine, eds., Lignes de front: bande dessinée et totalitarisme [Frontlines: Comics and Totalitarianism]

Thomas Becker, ed., Comic: Intermedialität und Legitimität eines popkulturellen Mediums [‘Comics: Intermediality and Legitimacy of a Popular Medium’]

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Introduction

Comics and Adaptation

Armelle Blin-Rolland, Guillaume Lecomte, and Marc Ripley

the narrative in comics adaptations, in particular of swashbucklers and westerns, contributing to broader questions of intermedial transfers between comics and cinema. In their study of Julie Maroh’s Le Bleu est une couleur chaude [ Blue Is the

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Thierry Groensteen

and cinema. He was a shrewd critic and a stylish writer. Over time, he became a close friend, to whom I dedicated Système de la bande dessinée [ The System of Comics ] in 1999. 19 Paul Gravett, who was then editor of the magazine Escape , later

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Pogo, Pop and Politics

Robert Benayoun on Comics and Roy Lichtenstein

Gavin Parkinson

wrote on the subject of that ‘desperation device’, word balloons, in La Brèche at the same time as he published on comics and cinema in La Méthode in Figure 4 Robert Benayoun, Untitled, 1961. Collage on paper, 17.8 × 20.3 cm. Private collection