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Conference Report: International Conference “Tintin au XXIe siècle” [Tintin In The 21st Century]

17 – 20 May 2017 – Louvain-la-Neuve – Musée Hergé – Collège Érasme, Université Catholique de Louvain

by Olivier Roche

Translated by Annick Pellegrin

Edited by Lise Tannahill

 

In Europe, the Belgian author Hergé, whose real name was Georges Remi, is considered to be one of the greatest bande dessinée artists of the 20th century, just like Winsor McCay (Little Nemo in Slumberland), Charles Schulz (Peanuts) or Jirō Taniguchi (A Distant Neighborhood). His body of work—mostly The Adventures of Tintin and Quick and Flupke—has become mythical, and the subject of collections, of speculation, of exhibitions, of hundreds of scholarly studies, of thousands of articles and all kinds of artistic and cultural tributes. In France or in Belgium, universities have had a lot of trouble embracing bande dessinée. However, in the last few years, there has been a notable and growing interest for the ninth art, and in particular for Hergé’s work, in higher education and research. From 17 to 20 May 2017, an international conference was held in Louvain-la-Neuve, at Université catholique de Louvain and at Musée Hergé [Hergé Museum], to mark Hergé’s 110th birthday. The conference, organised by a scientific committee representing six universities in Belgium, France and Switzerland, brought together 20 speakers from 8 countries over 4 days, a first, and it was a great success.
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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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Les Aventures du professeur Nimbus

Tightrope Walker During the Occupation – Part 4/4[1]

by Antoine Sausverd

Translated by Annick Pellegrin

Edited by Harriet Earle

Original publication: Sausverd, Antoine. « Les Aventures du professeur Nimbus : Funambule sous l’occupation. » La Crypte tonique septembre – octobre 2013: 13-18. Print.[2]

Condemnation in absentia

Les Aventures du professeur Nimbus by Daix came to an end on 17 August 1944 with Le Matin that fell apart in the besieged capital.[3]

Daix went into hiding and fled from Paris. His residence was searched. An arrest warrant was issued against him on 12 July 1945 for acts prejudicial to the security of the State. Daix, not having been apprehended, was judged in absentia at the court of justice of the Seine department on 8 January 1946. The exposé that led to this condemnation summarised the charges: Daix was a “collaborateur notoire” [notorious collaborator]. The tribunal reproached Daix for his denunciation of cartoon animators, and his involvement in 1942 in the “organe pro-allemand” [pro-German organisation] La Voix ouvrière made matters worse for him. But his drawings of Nimbus would be judged as not containing political propaganda.

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