By Ann Miller
Bande dessin?e, or French caricature, has constantly provoked controversy—labeled a chance to literacy and ethical criteria by means of its detractors, this polarizing artwork shape has even as been deemed beneficial of prestigious nationwide facilities in France and Belgium. studying Bande Dessin?e, the 1st English-language assessment and demanding examine of this interesting medium, lines the historical past and examines the cultural implications of French comics.Ann Miller’s groundbreaking ebook not just parses bande dessin?e as visible narrative artwork, however it exhibits readers the right way to research it, as she locations those comedian strips within the context of debates surrounding the form’s legitimization, ways it from a cultural reviews viewpoint, and examines bande dessin?e in its dating to subjectivity within the physique. Miller right here illuminates such disparate options as Ast?rix and the mythologizing of Frenchness, ancient reminiscence and the Algerian conflict, and characterizations of the recent managerial bourgeoisie within the context of Francophone comedian strips. examining Bande Dessin?e might help lay a scholarly beginning for the growing to be curiosity during this fascinating artwork shape within the Anglophone world. “[Miller’s] research levels from psychoanalytic to Marxist interpretations and is an excellent creation to this missed element of the comedian world.”—Roger Sabin, Observer “The features of Ann Miller’s writing for me abound during this most recent paintings; concise prose, superbly crafted sentences, advanced research illustrated with crystal transparent exemplification. this can be a paintings for a large readership. it's a paintings for enriching topic wisdom for academics and scholars of French and/or the visible arts at complicated levels.”—Ann Swarbrick, Language studying Journal “The paintings offers either a key research for students of the bande dessin?e, in addition to a handbook for a contemporary software of serious theory.”—Dr. Laurence Grove, college of Glasgow “This remarkable paintings of synthesis via Ann Miller has to be applauded. She succeeds in delivering a close and whole landscape of bande dessin?e a cultural phenomenon, an success that's all of the extra impressive provided that the writer makes successive use of a number of scholarly methods, relocating from the cultural heritage of the creation and reception of bande dessin?e to the theoretical reflections at the medium, the sociological research and the complicated of the autobiographical self in image literature.”—Harry Morgan
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Extra info for Reading Bande Dessinee: Critical Approaches to French-language Comic Strip
Francis Lacassin of CELEG began a series of lectures at the Sorbonne on the history and aesthetics of bande dessinée in 1971. Much of the content of these lectures is collected in Lacassin’s Pour un 9e art, la bande dessinée (1971), which covers Töpffer, Bécassine, Les Pieds nickelés, Felix the Cat, Popeye and Lucky Luke, and has sections on popular literature and science ﬁction as sources for bande dessinée, as well as a lengthy comparison between cinema and bande dessinée. Later in the decade, in 1978, a signiﬁcant advance in the institutionalization of the medium in Belgium was marked by the initiation of a specialized course in the theory and practice of bande dessinée at the Institut St Luc in Brussels.
In 1984, Benoît Peeters’s Les Bijoux ravis brought a psychoanalytical as well as semiological discourse to his reading. Peeters, whose academic background is in philosophy, was not writing from within the university but as a freelance cultural critic alongside his activities as bande dessinée scriptwriter and novelist. 3 The search for speciﬁcity and the potential for ‘modern’ work The question of who was authorized to bestow legitimacy on the medium, the question of the speciﬁcity of bande dessinée, and the question of a ‘modern’ current that would go beyond representation were debated in bande dessinée journals and at a conference during the 1980s.
Qxd 38 26/9/07 3:41 pm Page 38 | READING BANDE DESSINÉE album a consistent style gives coherence to the ﬁctional universe that is created. In Les Murailles de Samaris (1983) the style is Art Nouveau, for example, while in La Fièvre d’Urbicande (1985), it is fascist and monumental. The fantastique climate is created as an irrational element is gradually introduced. In Les Murailles de Samaris, it becomes apparent that the city visited by the hero is made up only of facades. In La Fièvre d’Urbicande a small metallic cube begins to grow until it has become a network which engulfs the whole city, and disturbs the rigid boundary maintenance and social segregation imposed by the regime.