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Category Archives: Guest Writers

Bangladeshi Women Creating Comics

by Sarah McNicol

Comics are, of course, found in many cultures, from Japanese manga and Chinese manhua to South and Central American historietas, and Filipino komiks that draw on traditional folklore as well as elements of mainstream US comics. Moreover, it has been argued that comic books “have always been attuned to the experiences of immigrant Others” (Davis-McElligatt, 2010: 137). Graphic narratives have long played a crucial role in representing and constructing immigrant subjects and the immigrant experience. Today, several of the most widely known graphic novels address issues of migration including Chris Ware’s (2001) Jimmy Corrigan: The Smartest Kid on Earth and Shaun Tan’s wordless graphic novel (2007) The Arrival. The latter is often said to depict a universal story of migration, telling “not an immigrant’s story, but the immigrant’s story” (Yang, 2007). Nevertheless, it is explicitly the story of a man’s migration as he leaves his wife and daughter behind to make a better life in a new land. At the end of his struggles, the man reunites with his family who, it would appear, settle seamlessly into their new life without experiencing any of the hardships he has endured. Discussing literature more broadly, Pavlenko (2001: 220) argues, “immigrant women’s stories were continuously ignored by the literary establishment” despite the fact that female migrant life writing often explores different themes from those of traditional male autobiographies.

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A Survey of Flemish Comic Strips Under Nazi Occupation

A Deceptive Crusade In Flanders Fields – Part 3/3[1]

by Danny de Laet

Translated by Lise Tannahill

Edited by Annick Pellegrin

 

Original publication: de Laet, Danny. « La BD flamande sous l’occupation : Entre croix gammée et croisade faussée. » La Crypte tonique septembre – octobre 2013: 35-44. Print.[2]

Lots of young people got their break with Henri Winkeler, who was already interested in animated cartoons before the war, so much so that he wanted to create a studio, funded by Wilfried Bouchery (who, after the war, would produce Claude Misonne’s animated version of Hergé’s Tintin adventure The Crab With The Golden Claws). To achieve this, he hired several students from the Royal Academy of Fine Arts Antwerp: Bob de Moor, Ray Goossens, Jules Luyckx, Marcel Colbrandt and a few others including Jef Nys. This greatly displeased their tutor, Baron Opsomer, who threatened to expel them. Only Nys, after working on Smidje Smee for three days, would return to the fold.

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A Survey of Flemish Comic Strips Under Nazi Occupation

A Deceptive Crusade In Flanders Fields – Part 2/3[1]

by Danny de Laet

Translated by Lise Tannahill

Edited by Annick Pellegrin

 

Original publication: de Laet, Danny. « La BD flamande sous l’occupation : Entre croix gammée et croisade faussée. » La Crypte tonique septembre – octobre 2013: 35-44. Print.[2]

 

 

How Did The Situation Evolve?

 

The situation evolved in two ways. Firstly—as noted—with the disappearance of some existing media and then the emergence of replacement media, combined with the (political) evolution of those pre-invasion publications that remained. For some illustrators this meant certain promotion and considerable financial gain; for others, more cautious or politically opposed, it meant putting their careers on ice. Two young artists made the most of this new situation, by hook or by crook: DeBudt and Vandersteen.

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A Survey of Flemish Comic Strips Under Nazi Occupation

A Deceptive Crusade In Flanders Fields – Part 1/3

by Danny de Laet

Translated by Lise Tannahill

Edited by Annick Pellegrin

 

Original publication: de Laet, Danny. « La BD flamande sous l’occupation : Entre croix gammée et croisade faussée. » La Crypte tonique septembre – octobre 2013: 35-44. Print. [1]

 

 

By Way of Introduction

In 1940, the quiet beginnings of Flemish beeldverhaal (that is to say, bande dessinée in Dutch) almost came to nothing. The German invasion of Belgium in May 1940 had something to do with it, putting an end to several publications of this kind, thus depriving several illustrators of their livelihood and leaving them unemployed.

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Spotlight on Indian Comics and Folklore

This post is guest written by Subir Dey, a Research Scholar at the Indian Institute of Technology Guwahati.

Teenta’ means ‘Three’ in Nagamese language. All the three stories in this book are adapted from ‘the book of Naga folktales’ published by Department of Art and Culture, Nagaland. Folktales are the hidden treasure of our culture and transforming the folktales in comics format was an attempt to unearth the hidden treasure and make it more interesting. The comics presented hereby are work of hard labour, brainstorming and numerous pencil strokes, which are completed over a period of 3 Days, as part of ‘Comics-Comics! A Comics Making Workshop’ conducted by Subir Dey. The main objective of the workshop was to understand the persistence, patience and commitment required for making comics. The art styles are raw and bear certain honesty towards the stories which is rarely seen in today’s polished and flamboyant world of superheroes. The essence of the stories lies in their grounded nature. They tell the stories of spirits, tigers, stepmothers, jealousy, foolishness and so many other emotions and expressions that are part of ‘modern life’ too.

The representation of characters and environment in this book is completely imagined by the artists and may or may not bear resemblance to the Naga culture. This is due to the simple reason that giving out the message of the Naga folktales was given more priority than the exact representation of Naga culture (which would not have been possible in 3 days!).

So, enjoy some of the gems from Naga folktales.
Happy Reading!

To view these comics, please click the link below:

‘Teenta’ Naga Folktales

 
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Posted by on 2017/11/03 in General, Guest Writers

 

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