Tag Archives: mental health

Broken Hero(es). The Construction of Masculinity in Enki Bilal’s La Trilogie Nikopol

by Véronique Sina

In France Enki Bilal may be one of the most popular comics artists who specialised in the genre of science fiction during his lifelong career. Since the mid 1970s his work has been characterised by the presentation of bleak visions of the future in which ruthless conglomerates reign and governments as well as ecological systems tend to collapse[1]. Most often the protagonists of these dystopic visions are disillusioned and broken heroes whose adventures Bilal manages to capture with the help of his surrealistic artwork. In the following I would like to focus on one of those broken heroes – namely Alcide Nikopol, the protagonist of Bilal’s comic book series La Trilogie Nikopol (1980-1992) – in order to analyse the construction of masculinity[2] in Bilal’s work by showing how performative discourses of gender and media go hand in hand in La Trilogie Nikopol[3]. In this respect, ‘masculinity’ is understood as a performative concept, i.e. as doing masculinity. As the American gender theorist Judith Butler elaborates

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Reading Correspondences through the Virtual Feminist Museum by Dan Smith

In the folded concertina pages of their book Correspondences (2013), artist Bernice Eisenstein and writer Anne Michaels have collaborated to adapt and put to use a multifaceted temporal dimension inherent in the medium of comics. Michaels and Eisenstein explore the potential that comics have to interrupt processes of consumption through phenomenal engagements with image, text, narrative and temporality. (Smith 2013) Correspondences changes through reading, offering new connections and configurations, made possible by the choice of directions in which the book can be read, and the page arrangements chosen by the reader upon any particular visit. The book opens as an accordion, the edge of each page attached to another. Read it this way, it is a poem. Read it a different way to look at Eisenstein’s portraits. When arranged conventionally, they are accompanied by a text on the facing page. As voices in a gallery of conversations, situated in the shadow of the Holocaust, Eisenstein’s portraits show us the faces of connected figures, from Paul Celan to Nelly Sachs, while the fragmented text of the poem sets up associations and relationships across time. There are echoes of the image/text combinations of Eisenstein’s previous graphic novel I was a Child of Holocaust Survivors (2006), which prodded the boundaries of the medium, resisting a more conventional approach to graphic memoir. Miriam Harris describes how Eisenstein illuminated “a vanished world of family members, shtetl culture, and Jewish intellectual inquiry and art, to identify what had been lost.” (2008: 132) Harris points out that “the union of words and images” (2008: 141) enables a reanimating of the dead through yoking together past and present in the corporeal form of the graphic novel. Correspondences performs similarly, but with an even greater sense of corporeal engagement, and moves even further away from standard image/text relations as found in comics.

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