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Vessels, Joel E. Drawing France. French Comics and the Republic. Jackson: Univ. Press of Mississippi, 2010. (305 S.)
Added by: joachim (21 Mar 2010 18:34:54 UTC) Last edited by: joachim (30 Jan 2017 02:28:10 UTC)
|Resource type: Book
ID no. (ISBN etc.): 978-1-60473-444-7
BibTeX citation key: Vessels2010
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Keywords: Frankreich, Historischer Überblick
Publisher: Univ. Press of Mississippi (Jackson)
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In France, Belgium, and other Francophone countries, comic strips—called bande dessinée or “BD” in French—have long been considered a major art form capable of addressing a host of contemporary issues. Among Frenchspeaking intelligentsia, graphic narratives were deemed worthy of canonization and critical study decades before the academy and the press in the United States embraced comics.
The place that BD holds today, however, belies the contentious political route the art form has traveled. In Drawing France: French Comics and the Republic, author Joel E. Vessels examines the trek of BD from its being considered a fomenter of rebellion, to a medium suitable only for semi-literates, to an impediment to education, and most recently to an art capable of addressing social concerns in mainstream culture.
In the mid-1800s, alarmists feared political caricatures might incite the ire of an illiterate working class. To counter this notion, proponents yoked the art to a particular articulation of “Frenchness” based on literacy and reason. With the post-World War II economic upswing, French consumers saw BD as a way to navigate the changes brought by modernization. After bande dessinéecame to be understood as a compass for the masses, the government, especially François Mitterand's administration, brought comics increasingly into “official” culture. Vessels argues that BD are central to the formation of France's self-image and a self-awareness of what it means to be French.
Introduction: A Force to Beckon With (3)
1 Stirring up Passions: Politics, Bande Dessinée, and Images in the Nineteenth Century and the Late Third Republic (17)
Epilogue: A Sous-Produit Littéraire No Longer (216)