This is the second portion of an interview with Hervé Barulea, or Baru, one of the most accomplished French cartoonists living today, conducted at his home in France on 15 July 2011. The first part of the interview was published in European Comic Art 4.1 (fall 2011), 213-237. Baru talks here about a broad range of important topics, including autobiography, the roles of work and leisure in his comics, boxing (his focus in two comics), the society of the spectacle, representations of women and minorities in comics, the heritage of classic French and Belgian comics (series such as Tintin, Yves-le-Loup ['Ivan-the-Wolf'] and Spirou) and the clear-line drawing style, experimentation by Oubapo, space, his drawing style and techniques for making comics, his current and future projects, his former teaching position in the Ecole des beaux-arts in Nancy, and the relationship of comics to fine art.
Mark McKinney and Hervé (Baru) Baruleau
An Interview with Pauline Pantsdown (AKA Simon Hunt)
Ben Hightower, Scott East, and Simon Hunt
There is often a division between scholarly publication and activist knowledge—something that Sarah Maddison and Sean Scalmer (2005) suggest may be countered by taking the knowledge produced by activists seriously. In this interview, Simon Hunt reflects on the genesis of Pauline Pantsdown, a drag persona that he developed in the late 1990s in reaction to Australian Conservative politician Pauline Hanson, who generated controversy for her racist and divisive views. The introduction briefly considers the importance of activist accounts and contextualizes Hunt’s practice in relation to arts activism and networked societies. From there, Hunt discusses a range of significant considerations for activism, notably the significance of using persona as a means for activism, the affordances and challenges of using social media, and methods for activating participation in a changing media landscape.
Jonathan Magonet and Lionel Blue
. Figure 4 Lionel Blue, The Battle of Cable Street – a childhood memory The following interview was published in the Liberal Jewish Monthly , April 1965, and at the same time in the Synagogue Review , the journal of the Reform Synagogues of Great
Professor Anna Stilz and Interviewed by Dr Christine Hobden
18 November 2019 CH: Thank you for agreeing to do this. The prompt for the interview was to talk about your recently published book, Territorial Sovereignty, but I thought before we got into that you could say something about your earlier
Pat Wheeler, Sharon Monteith, and Livi Michael
Livi Michael has written four highly acclaimed novels, Under a Thin Moon (London: Minerva, 1993), Their Angel Reach (London: Martin, Secker and Warburg Ltd, 1994), All the Dark Air (London: Martin, Secker and Warburg Ltd, 1996) and Inheritance (London: Penguin, 2000). This interview was conducted prior to the publication of Inheritance. She has been shortlisted for the John Steinbeck and the John Llewellyn Rhys Awards and is a winner of the Royal Society of Literature Arthur Welton Scholarship. Michael has also been awarded by the Geoffrey Faber Memorial Prize and the Society of Authors Award.
Ann Miller and Joost Swarte
Joost Swarte, the Dutch comic artist, designer and architect, and inventor of the term ligne claire ['clear line'], played a major role in the conception of the new Hergé museum at Louvain-la-Neuve in Belgium. The museum website (http://www.museeherge.com) has details of the rooms and exhibits, and includes an explanation from Swarte about his role as scenographer. In this interview with European Comic Art, he further elaborates some of the points made in that text, and sheds interesting light upon issues raised by contributors to this volume.
An Interview with John Dunn
Benjamin Abrams and John Dunn
today. In addition to this interview, I would encourage readers to examine Dunn’s essay “Understanding Revolution,” which was published in the edited volume Revolution in the Making of the Modern World (2008), and his introduction to the Spanish
Mark McKinney and Farid Boudjellal
Farid Boudjellal (b. 1953), a French cartoonist of Algerian and Armenian heritage, outlines his approach to comics. He discusses important inspirations and influences, including cartoonists from France (Gébé), Italy (Hugo Pratt) and the United States (Milton Caniff). He speaks of themes that are important to his work, especially temporality, a multiplicity of characters, dreams and fantasy. Boudjellal also distinguishes his comics from autobiography, a genre that he shuns, and critiques the sociological reductionism often found in the critical reception of his comics. He discusses his artistic techniques, including black-and-white line drawing, watercolor, and interconnected speech balloons. His interview provides an overview of his career and his ongoing projects in comics, which he situates against the general evolution of comics in France from the 1960s up to the present.
Ann Miller and Kaveri Gopalakrishnan
In this interview, Kaveri Gopalakrishnan discusses childhood reading, formative influences and how her training in animation has impacted on her visual language as a comics artist. She describes the pleasures of collaborative work, but also gives a sense of the solitude necessarily involved in comics creation, and shares her insights into the artistic and technical challenges involved in conveying emotion and sensory experience. The theme of gender runs through the interview, both in relation to the models that she encountered as a child in Indian and American comics, and to her own satirical take on the rules of female decorum imposed upon Indian schoolgirls. Kaveri reflects on her choice of Instagram posts as a way of publishing a certain type of personal comic, and on the very different demands of producing illustrations for educational books. The current projects that she sets out at the end of the interview demonstrate the breadth and ambition of her work.
Adolfo Campoy-Cubillo and Esther Bendahan
This interview with the Sephardic novelist and translator Esther Bendahan provides unique insights into the historical events that surrounded the collapse of Jewish communities in Morocco during the second half of the twentieth century. Bendahan's knowledge of the social and political realities that informed Sephardic cultural production in Morocco, her ability as a scholar to interpret their significance in the wider context of Sephardism in the Maghreb, and her priceless insights as a first-hand witness of the diasporas triggered by the independence of European colonies throughout North Africa make her account and interpretation of these events extremely valuable. This interview pays special attention to the many ways in which Sephardic cultural production was, and remains, different from European traditions while simultaneously presenting itself as an intermediary between the East and the West.