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Symposium report: Tradition and Innovation in Franco-Belgian bande dessinée

by Fransiska Louwagie and Simon Lambert

 

On 13 March 2020 the University of Leicester hosted an International Symposium titled “Tradition and Innovation in Franco-Belgian bande dessinée” organised in collaboration with Wallonia-Brussels International. This one-day symposium – for which the progamme can be found here – was organised with generous support from the ASMCF, the Society for French Studies and the School of Arts at the University of Leicester.

The day was opened by Simon Lambert as Academic and Cultural Liaison Officer for Wallonia-Brussels in the UK, in conjunction with Fransiska Louwagie (University of Leicester). Keynote speakers were Professor Laurence Grove from the University of Glasgow and graphic novelist Michel Kichka, who also delivered a public seminar on his work. Across three panels, the day focussed on various forms of tradition and innovation in Franco-Belgian bande dessinée: the first panel was dedicated to “Revisiting the classics”, the second panel to “Contemporary perspectives”, and the final ASMCF panel to “Reshaping Franco-Belgian bande dessinée”. The closing remarks were organised as a roundtable session on collaborative international research projects.

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Conference Report: Fluid Images — Fluid Text: Comics’ Mobility Across Time, Space and Artistic Media (Cardiff University, Wales)

by Andrea De Falco

 

‘Fluid Images – Fluid Text’ was the title of an interdisciplinary conference that took place at Cardiff University (Wales) on 23-24 January 2020. The conference, organised by Dr Tilmann Altenberg (School of Modern Languages) and Dr Lisa El Refaie (School of English, Communication and Philosophy), hosted eighteen speakers from twelve institutions spread across seven different countries, featuring a wide range of backgrounds and approaches. The conference received financial support from Institute of Modern Languages Research (London), University Council of Modern Languages, Cardiff Comics Storytelling Network, Cardiff School of Modern Languages and Cardiff School of English, Communication and Philosophy.

The aim was to investigate from a transdisciplinary perspective three different and interlinked dimensions underpinning comics’ mobility: time, space and artistic media. The chronological dimension covers a broad field including the relationships between comics and history and the transformations investing their editorial and reading practices. Translation is the key word to understand how comics have been able to transcend national borders, by means of transmission in different languages and cultures. The last dimension leads us to comics’ adaptation in other media, investigating their relationships with different forms of artistic expression.

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Medieval Comics: Depicting the Middle Ages in European Graphic Novels

by Iain A. MacInnes

Medieval history is very much in vogue at the present time. Driven by representations of the period in various forms of popular culture, there appears to be a great appetite for all things medieval. From television (Vikings, The Name of the Rose, Knightfall) to film (The Green Knight, The King, Outlaw King) to video games (A Plague Tale: Innocence, Kingdom Come: Deliverance, Medieval Dynasty), representations of the medieval world are hard to avoid.[1] And that is before we get to the more medieval-influenced forms of media that perhaps drive interest in the medieval even more than apparently “real” representations of the past. Where Game of Thrones led the way, The Witcher is now appealing to a mass global audience.[2] The forthcoming Lord of the Rings television series, films like Nimona and games like Godfall will similarly bring different varieties of medieval aesthetics to modern audiences across the globe.[3]

Another medium, perhaps more niche than the above, is that of the graphic novel. Comics set in both the medieval past and medieval-inspired worlds have gained increasing popularity in recent years, and it can be argued that these are as important as the above examples in terms of influencing modern perceptions and understanding of our medieval past. One potential reason why this is not as well-recognised is that many medieval comics are not available in English. While there do exist prominent examples of English-language medieval comics by noted authors and special releases timed to coincide with historical anniversaries (such as Crécy, Templar, Nevsky: A Hero of the People, On Dangerous Ground: Bannockburn 1314 and Agincourt 1415: A Graphic Novel), this output pales into relative insignificance when compared with that produced in continental Europe.[4] The remainder of this post will therefore consider the range of medieval comics produced for the European market, with a focus on Spain and particularly France. While some broader context for these works is provided, the main focus will be on comics of the last decade to allow consideration of increased interest in the medieval period as reflected in the comic medium.

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Posted by on 2020/04/15 in Guest Writers

 

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Amar Bari Tomar Bari Naxalbari: A Socio-Political Indian “Comic”

By Antarleena Basu

 

In 2015, while Paul Gravett was affirming that “the Indian graphic novel is here to stay” (Gravett), a 162-page comic/graphic novel that raised many an eyebrow for its dauntless representation of the Naxalite movement and the rise of the communist ideology across India was published in book form somewhere in Bhilai, a bustling industrial city in the state of Chattisgarh in India. The Naxalite movement, also known as the “peasant uprising”, refers to the armed struggle of the peasants against wealthy and exploitative land-owners and it was initiated by a small fraction of the Communist Party of India (Marxist) led by Charu Mazumdar in a small village of West Bengal in India called “Naxalbari”; hence the name “Naxal uprising”. Titled Amar Bari Tomar Bari Naxalbari (which roughly translates from Bengali as “my house and your house is Naxalbari” and echo the popular Bengali slogan of the Naxals), Sumit Kumar’s comic was the first of its kind—it not only dares to portray the serious topic of the Naxal and communist uprising through the verbal and visual interaction of the comic mode but also experiments with a wide array of styles and techniques in the text, thereby injecting the necessary dosage of plurality that could go into the making of an Indian comic. By amalgamating the present political events with those of the past, by invoking classics as well as pop-culture and its icons, by mixing colourful pages with stark blacks and whites, among his many binaries, Kumar creates a scathing, tragic-comic narrative that almost borders on the absurd.

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Posted by on 2019/02/27 in Guest Writers

 

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Who is Charlie Chan Hock Chye?

Verisimilitude and (The Act of) Reading

by Yiru Lim

 

Figure 1

Figure 1

Source: The Art of Charlie Chan Hock Chye, p. 307. Copyright © 2015 by Sonny Liew. Published in Singapore by Epigram Books http://www.epigrambooks.sg

Singapore’s official version of history is primarily enshrined in the memoirs of Mr Lee Kuan Yew, Singapore’s first Prime Minister. Titled The Singapore Story: Memoirs of Lee Kuan Yew, the memoirs were originally published in two volumes in 1998 and 2000 and a memorial edition was released by Marshall Cavendish in 2015, the year of Mr Lee’s passing. Revisionist accounts that stand in opposition to this seminal publication attempt to fill what they see as a void in Singapore’s history: the voice of the opposition, especially in the narratives concerning nation building and independence. They exist in a myriad of forms and genres—film, scholarly publications, prose, poetry—and they seek to debunk existing narratives and proffer more balanced perspectives of history.

Some recent examples include academic publications like Comet in Our Sky (2015), that speaks of the alleged communist Lim Chin Siong and his role in securing Singapore’s independence; Tan Pin Pin’s documentary film To Singapore, With Love (2013); Jeremy Tiang’s State of Emergency: A Novel (2017); and Sonny Liew’s graphic novel The Art of Charlie Chan Hock Chye (2015). Tan’s film has been banned from being screened in Singapore while the latter two have had their grants revoked by the National Arts Council of Singapore (NAC) (Ho, 2017, Today Online 2015 & 2014). Although Liew’s graphic novel did not receive government approval, it has taken the literary world by storm. It became the first graphic novel to win the Singapore Literature Prize in 2016 and has garnered Liew six Eisner nominations and three Eisner Awards this year (Martin, 2017).

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