French cartoons

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The document discusses several popular French comic book characters including Asterix, Tintin, Boule et Bill, Gaston Lagaffe. It provides some background information about when and by whom each character was created. It also mentions that comic books, called bandes dessinées or BD, are very popular in France with large sections dedicated to them in bookstores.

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For fans of The 7 ? Deaths of Evelyn Hardcastle and David Mitchell, a genre bending, time twisting alternative history that asks whether it's worth changing the past to save the future, even if it costs you everyone you've ever loved. Joe Tournier has a bad case of amnesia. His first memory is of stepping off a train in the nineteenth-century French colony of England. The only clue Joe has about his identity is a century-old postcard of a Scottish lighthouse that arrives in London the same month he does. Written in illegal English-instead of French-the postcard is signed only with the letter ?M,? but Joe is certain whoever wrote it knows him far better than he currently knows himself, and he's determined to find the writer. The search for M, though, will drive Joe from French-ruled London to rebel-owned Scotland and finally onto the battle ships of a lost empire's Royal Navy. In the process, Joe will remake history, and himself. From bestselling author Natasha Pulley, The Kingdoms is .

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� Why Are Comics Still in Search of Cultural Legitimization? Thierry GroensTeen Although comics have been in existence for over a century and a half, they suffer from a considerable lack of legitimacy. To those who know and love it, the art that has given us Rodolphe Töpffer and Wilhelm Busch, Hergé and Tardi, Winsor McCay and George Herriman, Barks and Gottfredson, Franquin and Moebius, Segar and Spiegelman, Gotlib and Bretécher, Crumb and Mattotti, Hugo Pratt and Alberto Breccia, not to mention The Spirit, Peanuts or Asterix . . . in short, comic art, has nothing left to prove. If its validity as an art form appears self-evident, it is curious that the legitimizing authorities (universities, museums, the media) still regularly charge it with being infantile, vulgar, or insignificant. This as if the whole of the genre were to be lowered to the level of its most mediocre products—and its most remarkable incarnations ignored. Comic art suffers from an extraordinarily narrow image, given the richness and diversity of its manifestations. Furthermore, its globally bad reputation jeopardizes the acknowledgment of its most talented creators. Comic art’s continuing inability to reap the symbolic benefits of its most accomplished achievements is particularly striking and merits elucidation. This is the subject I would like to reflect upon today. Some of the points I will make concern the specific history and situation of French comics and cannot be applied to other national situations without some adaptation. I will start by evoking some of the paradoxes of the history of the 9th art. Modern (printed) comics appeared in the 1830s—in the form of Rodolphe Töpffer’s pioneering work1—which makes them more or less contemporary with the invention of photography. And yet, it was not until the 1960s that the French language found a permanent name for this mode of expression—that was, by then, over a hundred years old. During this long period, comics were known, not as bandes dessinées (literally strips that have been drawn) but, successively or indiscriminately, as histoires en estampes, which is Töpffer’s own term (stories told in prints), histoires en images (picture stories), récits illustrés (illustrated tales), films dessinés (films made of drawings) and of course, comics. Translated by Shirley Smolderen. Reprinted by permission from Anne Magnussen and Hans-Christian Christiansen, eds., Comics and Culture: Analytical and Theoretical Approaches to Comics (Museum Tusculanum Press, 2000), 29–41. Co py ri gh t @ 20 09 . Un iv er si ty P re ss o f Mi ss is si pp i. Al l ri gh ts r es er ve d. M ay n ot b e re pr od uc ed i n an y fo rm w it ho ut p er mi ss io n fr om t he p ub li sh er , ex ce pt f ai r us es p er mi tt ed u nd er U .S . or a pp li ca bl e co py ri gh t la w. EBSCO : eBook Collection (EBSCOhost) - printed on 10/6/2019 8:47 PM via MICHIGAN STATE UNIV AN: 458766 ; Heer, Jeet, .

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