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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Tags: beeldverhaal, Belgium, Flanders, Flemish comics, German occupation of Belgium, Germany, Nazi occupation of Belgium, Translations, WWII
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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Tags: beeldverhaal, Belgium, Flanders, Flemish comics, German occupation of Belgium, Germany, Nazi occupation of Belgium, Translations, WWII
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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Tags: beeldverhaal, Belgium, Flanders, Flemish strips, German occupation of Belgium, Germany, Nazi occupation of Belgium, Translations, WWII
The Joint International Conference of Graphic Novels, Comics and the International Bande Dessinée Society’s Seventh International Conference
July 5-8 2011
Manchester Metropolitan University
The bande dessinée part of the joint conference took up the baton after two very stimulating days with GNAC and SIC. We too were pleased by the quantity and quality of papers and we ran parallel sessions. The morning of 7th July began with panels comprising two distinct strands: bandes dessinées and Francophone Africa, and BDs drawing upon the European Classics. The first strand began with Laurike in’t Veld’s insights into how the Rwandan genocide was represented in comics, and continued with Michel Bumatay’s study of Sub-Saharan African Francophone BDs. The focus on Africa continued with Mark Mckinney, who drew upon (post) colonial strips to argue that autobiography began in BDs earlier than is generally recognised. This was followed by Cathal Kilcline’s analysis of Boudjellal, who depicts an immigrant family in Toulon. The European Classics strand began with papers by Linda Rabea-Heyden and Matthew Screech on comic strip adaptations of canonical literary works: Goethe’s Faust and Voltaire’s Candide. Next came a re-examination of bande dessinée Classics with Bart Beaty, who closely scrutinised panels from Bravo’s re-make of the best-selling hero Spirou. Another strip to enter the pantheon of classics, Lieutenant Blueberry, was discussed by Martha Zan, who established its similarities with ss.
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Tags: Africa, Alberto Cipriani, Ann Miller, Annick Pellegrin, anti-comics feeling, architecture, autobiography, Émile Bravo, bande dessinée, Bart Beaty, body, Canada, Catriona Macleod, Charlotte Pylyser, China, Christophe Meunier, Clare Tufts, colonialism, Dali, detective BD, dramatic intensity, Edmond Baudoin, Etienne Davodeau, excess, Fernand Stefanich, Flanders, France, Gender, Germany, Goethe, Greice Schneider, Guy Delisle, Hélène Sirven, Hergé, Holland, immgration, Jimenez Lai, Jorge Catala-Carrasco, Klara Arnberg, Latin America, Laurence Grove, Laurike in’t Veld, Le Temple du Soleil, Les Sept Boules de Cristal, Lieutenant Blueberry, Linda Rabea-Heyden, Louvre, Manchester Metropolitan University, Manuel de la Fuente, Mark McKinney, Mary Toft, Matthew Screech, Mauro Marchesi, Michael D. Picone, Michel Bumatay, Michel Rabagliati, Michelle Bloom, Moebius, Morris, museum, narrative tension, Paracuellos, parody, Paul Malone, Pénélope Bagieu, Pierre Fresnault-Deruelle, post-feminism, Renata Pascoal, Rik Sanders, Rikke Platz Cortsen, Rwandan genocide, space, spaghetti Westerns, Spanish Civil War, Spirou, Steven Surdiacourt, Sub-Saharan African Francophone BD, Sweden, Sylvie Dardaillon, time, Tomas Nilson, UK, Voltaire, Western Comics, Women
Comics Forum 