Książki o komiksie - Komiksy - Vallaor

91,1 MB
29 gru 19 14:23

Panorama de la Bande Dessinée by Jacques Sadoul.cbr

PANORAMA DE LA BANDE DESSINEE. 1976. In-12. Broché. 221 pages

Un bon panorama des BD à l'ancienne car on part des années 40 et 50, les vieilles BD anti-nazis et les prémices de la SF et du fantastique. Puis on remonte vers les années 60 avec l'apparition de nouveaux personnages, et aussi les différences entre les BD européennes et américaines, un peu comme Astérix et Superman. On revoit aussi beaucoup de héros qui ont été clonés par la suite, le célébre Tarzan et Conan le Barbare, imités et repris sous différentes formes, puis la BD érotique ou trash, et enfin underground et caricaturale. Jacques sadoul connait son affaire, et nous offre ici un bon panorama. Ensuite, avec les années 70 la BD ayant éclatée, de multiples personnages et genres se sont multipliés, pour le pire et le meilleur...

Claud Stevens

52,9 MB
2 gru 19 23:02

L'ambition Narrative - Parcours dans l'œuvre d'And reas (1999) by Lacroix, Sohet & Andreas.cbr

Une BD de Yves Lacroix, Philippe Sohet et Andreas chez XYZ éditeur (Documents) - 1999

Ses récits visent à déranger le lecteur, à le déstabiliser, à le forcer hors de ses habitudes vers une conscience plus grande de sa démarche. En lui offrant le plus bel hommage: l'appel à son intelligence. Les premières parties de l'ouvrage s'attachent à trois des oeuvres d'Andreas (Cyrrus, Coutoo et Le triangle rouge) particulièrement révélatrices des enjeux de sa démarche. Dans une perspective plus synthétique, la dernière partie tente de retracer les marques les plus significatives de cette «ambition narrative» et d'illustrer la richesse créatrice de cette prise à bras-le-corps du médium. S'appuyant sur les acquis des recherches les plus récentes, cet ouvrage propose également des modalités méthodologiques extrapolables à l'ensemble de la bande dessinée. Dans un souci de transparence, il restitue le cheminement qui, de l'entretien à l'analyse, a produit l'incontournable confrontation des lectures de l'oeuvre. L'ambition narrative invite à une relecture minutieuse d'une oeuvre étonnante. Les perspectives originales qui y sont développées débordent cependant l'analyse d'un corpus et stimuleront tous ceux que la bande dessinée et la narratologie intéressent.

55,4 MB
2 gru 19 22:54

Andreas. Une Monographie (1997) by Sohet, Lacroix, Ratier & Andreas.cbr

Une BD de Yves Lacroix et Andreas chez Mosquito - 1997

Capables d'émouvoir, les récits d'Andréas cherchent d'abord à déranger le lecteur, à le déstabiliser, à le forcer hors de ses habitudes vers une conscience plus grande de sa démarche. Il n'est pas de lectures paresseuses d'Andréas, il n'en est pas de nonchalantes. L'aveu est secret, ici le plaisirs se gagne. Se construit…
[babelio]

Encore une superbe monographie éditée par Mosquito.
128 pages entièrement consacrées au génial auteur Andréas. Et quelles pages..
Trois grandes parties : parcours des grands étapes de l'oeuvre, de Rork à Capricorne ; étude des thèmes chers à l'auteur ; analyse des techniques narratives.
Le tout accompagné d'une riche iconographie, offrant nombre de dessins et d'illustrations peu courants, presque inédits, et en couleur.
L'ouvrage se clôt sur une bibliographie.
Un must.
[Julian Morrow]

57,7 MB
15 paź 19 18:59

Les Clés de la bande dessinée 3. Les Personnages.cbr

Une BD de Will Eisner chez Delcourt (Contrebande) - 2011

Après la définition de l'art séquentiel et le développement des différentes techniques de narration propres à la bande dessinée, Will Eisner aborde dans ce dernier tome la gestuelle et la construction des personnages. Le guide parfait pour peupler vos imaginaires d'une multitude de personnages crédibles et séduisants qui - sait-on jamais? - poursuivront un jour leurs aventures sur le papier.

63,0 MB
15 paź 19 18:59

Les Clés de la bande dessinée 2. La Narration.cbr

Une BD de Will Eisner chez Delcourt (Contrebande) - 2010

Will Eisner, créateur du premier graphic novel (Un Pacte avec Dieu), met à la portée de tous son expérience inestimable dans une trilogie didactique dédiée à tous les amoureux du 9e art. Dans ce tome, il expose les bases et techniques avancées de la narration, l'élément, comme il le rappelle, qui permet à tous les intervenants (dessinateur, encreur, coloriste) de réaliser une bonne bande dessinée.

67,4 MB
15 paź 19 18:58

Les Clés de la bande dessinée 1. L'Art séquentiel.cbr

Une BD de Will Eisner chez Delcourt (Contrebande) - 2009

Riche de son expérience d'enseignant à l'École des Arts Visuels de New York, Will Eisner rassemble dans ce volume la synthèse de ses conseils sur l'usage des codes et règles essentiels en bande dessinée. Que vous soyez étudiant en cinéma, en littérature, dessinateur ou simplement amateur de bonnes histoires, cet ouvrage répondra à toutes vos questions et élargira vos horizons créatifs !

238,2 MB
1 paź 19 13:52

Il fumetto in Italia (1971) by Leonardo Becciu [c2 c by Tura_Max Italia-DCP].cbz

1971 SANSONI FUMETTI

130,8 MB
31 sie 19 13:03

Cómo pinta Vicente Segrelles (1999) by Vicente Seg relles.cbr

Vicente Segrelles Sacristán (Barcelona, España, 9 de septiembre de 1940) es un ilustrador e historietista español, célebre internacionalmente por su serie de historietas El Mercenario, en las que emplea una técnica hiperrealista. Es sobrino del ilustrador y pintor José Segrelles y primo del pintor, escultor e ilustrador Eustaquio Segrelles del Pilar. En 1999 publica Cómo Pinta Vicente Segrelles, un manual de dibujo ampliamente ilustrado donde explica sus técnicas y secretos.

158,3 MB
31 sie 19 12:47

Pretty in Ink - North American Women Cartoonists 1 896-2010 (2013) by Trina Robbins.pdf

Trina Robbins has spent the last thirty years recording the accomplishments of a century of women cartoonists, and Pretty in Ink is her ultimate book, a revised, updated and rewritten history of women cartoonists, with more color illustrations than ever before, and with some startling new discoveries (such as a Native American woman cartoonist from the 1940s who was also a Corporal in the women’s army, and the revelation that a cartoonist included in all of Robbins’s previous histories was a man!) In the pages of Pretty in Ink you’ll find new photos and correspondence from cartoonists Ethel Hays and Edwina Dumm, and the true story of Golden Age comic book star Lily Renee, as intriguing as the comics she drew. Although the comics profession was dominated by men, there were far more women working in the profession throughout the 20th century than other histories indicate, and they have flourished in the 21st. Robbins not only documents the increasing relevance of women throughout the 20th century, with mainstream creators such as Ramona Fradon and Dale Messick and alternative cartoonists such as Lynda Barry, Carol Tyler, and Phoebe Gloeckner, but the latest generation of women cartoonists―Megan Kelso, Cathy Malkasian, Linda Medley, and Lilli Carré, among many others. Robbins is the preeminent historian of women comic artists; forget her previous histories: Pretty in Ink is her most comprehensive volume to date.

243,7 MB
31 sie 19 12:38

Enciclopedia dei fumetti 01 [Sansoni Editore].cbz

I magnifici eroi - La protesta e la satira di costume - La fantascienza e il fantastico - i ragazzi terribili - L'avventura poliziesca - Le dolcezze della famiglia - Il mondo animale - Le eroine di carta - Il fumetto erotico - Guida ai personaggi. Testi di Carlo Della Corte, Ernesto G. Laura, Pier Carpi, Piero Zanotto, Orio Caldiron, et al. Completamente illustrato in nero e a colori. 2 volumi. 4to. pp. 340 + 340.

Quest'opera antologica del fumetto presenta alcune storie classiche o inedite, riproponendo al lettore gli ''eroi di carta'' di ieri e di oggi: da Krazy Kat a Topolino, dall'Uomo Mascherato a Mandrake, da Flash Gordon a Jeff Hawke, da Dick Tracy a Li' l Abner, da Braccio di Ferro ad Arcibaldo e Petronilla, da Bibì e Bibò a Charlie Brown e C. Rilegato.

240,9 MB
31 sie 19 12:38

Enciclopedia dei fumetti 02 [Sansoni Editore].cbz

Titolo: Enciclopedia dei fumetti
Casa editrice: Sansoni, FIRENZE
Data di pubblicazione: 1970

Opera in due volumi, uscita nel 1970, ben realizzata con la collaborazione di personalità quali Carlo Della Corte ed Ernesto G.Laura, scrittori, giornalisti e critici esperti nella materia.
Ogni volume (F.to 25x31 cm) 340 + 382 pagg. - con moltissime illustrazioni a colori e in B/N - copertina rigida cartonata rivestita in similpelle verde, offre una panoramica completa delle tipologie di comics in auge dalle origini sino all'inizio degli anni '70.
Si tratta di un documento assai utile per gli appassionati del genere.
I due volumi, considerata l'età, come si può vedere dalle foto allegate, sono in perfette condizioni, senza significative tracce di usura agli spigoli, ad esclusione di un leggero ingiallimento della carta.

70,6 MB
31 sie 19 12:25

Fantastico Walt (2001).pdf

Walt Disney Company Italia, 2001

"Fantastico Walt" è una raccolta delle più belle storie a fumetto Disney per celebrare il 're della fantasia' che, con i suoi indimenticabili lungometraggi, ha fatto sognare e divertire generazioni di spettatori in tutto il mondo. A cento anni dalla sua nascita Disney Libri dedica al papà della fantasia e della magia Disney il libro "Fantastico Walt", un volume che ripercorre le principali e più curiose tappe della vita di Walt Disney e dei suoi indimenticabili personaggi.

5,1 MB
31 sie 19 12:13

Komiks. Comic Art in Russia (2009) by José Alaniz.pdf

José Alaniz explores the problematic publication history of komiks--an art form much-maligned as "bourgeois" mass diversion before, during, and after the collapse of the USSR--with an emphasis on the last twenty years. Using archival research, interviews with major artists and publishers, and close readings of several works, Komiks: Comic Art in Russia provides heretofore unavailable access to the country's rich--but unknown--comics heritage. The study examines the dizzying experimental comics of the late Czarist and early revolutionary era, caricature from the satirical journal Krokodil, and the postwar series Petia Ryzhik (the "Russian Tintin"). Detailed case studies include the Perestroika-era KOM studio, the first devoted to comics in the Soviet Union; post-Soviet comics in contemporary art; autobiography and the work of Nikolai Maslov; and women's comics by such artists as Lena Uzhinova, Namida, and Re-I. Alaniz examines such issues as anti-Americanism, censorship, the rise of consumerism, globalization (e.g., in Russian manga), the impact of the internet, and the hard-won establishment of a comics subculture in Russia

Komiks have often borne the brunt of ideological change--thriving in summers of relative freedom, freezing in hard winters of official disdain. This volume covers the art form's origins in religious icon-making and book illustration, and later the immensely popular lubok or woodblock print. Alaniz reveals comics' vilification and marginalization under the Communists, the art form's economic struggles, and its eventual internet "migration" in the post-Soviet era. This book shows that Russian comics, as with the people who made them, never had a "normal life."

250,9 MB
12 cze 19 21:54

Sparring With Gil Kane - Debating the History and Aesthetics of Comics (2018) (digital) (Minutemen-d ask).cbr

by Gil Kane (Author), Gary Groth (Editor)

Paperback: 272 pages
Publisher: Fantagraphics Books; 1 edition (February 13, 2018)
Language: English

Gil Kane drew every major comic book character in his 50-year career ― from Spider-Man and the Hulk to Superman and Batman ― and conceived and drew independent “graphic novels” long before the term had any meaning to the larger public. He was also a fascinating raconteur and a formidable analyst, critic, and theorist of comics, a medium he loved. Included in this collection are interviews Kane conducted with a wide array of cartoonists: newspaper strip artists such as Hal Foster (Prince Valiant) and Walt Kelly (Pogo); fellow comic book creators such as Harvey Kurtzman; underground cartoonists Robert Crumb and Jack Jackson; and the literary critic Donald Phelps.

72,8 MB
14 kwi 19 12:52

KRAZY! the delirious world of anime, comics, vide o games (2008) by Bruce Grenville.pdf

Catalog of an exhibition held at the Vancouver Art Gallery, May 17-Sept. 7, 2008
275 pages

Comics! Cartoons! Anime! Manga! Graphic Novels! Video Games! This book, companion to a landmark exhibition, celebrates the variety and growing significance of visual culture. Illustrated with eye-popping art, KRAZY! investigates the uniqueness of these forms and the ways they interconnect. Put together by some of the genres' most influential artists and cultural producers, it features commentary and interviews with Maus author Art Spiegelman, Sims creator Will Wright and comic artist Seth, along with Tim Johnson (codirector of Antz and Over the Hedge), Kiyoshi Kusumi (a global authority on manga), media theorist and critic Toshiya Ueno and visual arts curator Bruce Grenville.

“Excellent catalog.”
(New York Times 2009-03-13)

“Leaves the reader eager to explore aspects of each topic in greater depth.”
(World Literature Today 2010-11-09)

“What’s interesting about Krazy! is that it explores these art forms [and] present[s] them in a way in that forces the reader to never look at anime, manga, or video games [in the same way] again. . . . Bold, beautiful full-colored pictures illustrate it to give the reader the impression that they are at the exhibit themselves. . . . Embrace the kraziness.”
(Pop Matters 2008-08-14)

“The parade of animators and cartoonists is impressive. . . . Heart-stopping.”
(Metro Newspapers 2008-08-13)

“It is fascinating and satisfying to read essays that treat these forms of expression with the weight of both serious analysis and passionate appreciation.”
(Arcade Journal 2009-06-01)

10,2 MB
5 kwi 19 17:36

The Comic Art Show. Cartoons in painting and popul ar culture (1983) by John Carlin.pdf

Title: The Comic Art Show
Publisher: Whitney Museum of American Art
Publication Date: 1983

4,6 MB
4 kwi 19 20:38

Comics, Manga, and Graphic Novels (2010) by Robert Petersen.pdf

Graphic narrative art is a fascinating phenomenon that emerged centuries ago with the expansion of literacy and the publication industry. The earliest example of a repeating comic character dates back to the late 1700s. By following the growth of print technology in Europe and Asia, it is possible to understand how and why artists across cultures developed different strategies for telling stories with pictures.

This book is much more than a history of graphic narrative across the globe. It examines broader conceptual developments that preceded the origins of comics and graphic novels; how those ideas have evolved over the last century and a half; how literacy, print technology, and developments in narrative art are interrelated; and the way graphic narratives communicate culturally significant stories. The work of artists such as William Hogarth, J. J. Grandville, Willhem Busch, Frans Masereel, Max Ernst, Saul Steinberg, Henry Darger, and Larry Gonick are discussed or depicted.

30,7 MB
3 kwi 19 22:23

Getting angry six times a week. A portfolio of pol itical cartoons. 14 major cartoonists (1979) by Al an F. Westin.pdf

Getting angry six times a week : a portfolio of political cartoons : 14 major cartoonists, edited with an introd. by Alan F. Westin ; profiles by Albert Robbins and Randall Rothenberg

Genre/Form: Biography, Caricatures and cartoons
Publisher: Beacon Press (November 1979)

28,4 MB
3 kwi 19 22:13

Milton Caniff. Conversations (2002) edited by Robe rt C. Harvey.pdf

In this collection of more than a dozen interviews one of the giants of American comic strips talks about his life and his craft. The years spanning 1937 to 1986, when the interviews were conducted, embrace almost all of Caniff's career as he was producing the legendary Terry and the Pirates and his post-World War II masterpiece Steve Canyon.

In long interviews with such comics luminaries as Jules Feiffer and Will Eisner, Caniff (1907-1988) discusses his signature chiaroscuro style, his passion for realism in every detail, and his relationships with such other cartooning greats as Al Capp (Li'l Abner), Noel Sickles (Scorchy Smith), and Alex Raymond (Flash Gordon).

As Caniff speaks earnestly about his art, his techniques, and his intentions, he discloses his inspirations. He based his characters on real persons and his material on contemporary politics and military issues. He gives candid opinions about the effects of the marketplace, business, and sales upon his art. "I would have created Blondie if I'd known that I could have sold it, you can be damn sure." He notes that the cause for terminating his association with Terry and the Pirates and his creation of Steve Canyon was neither lack of interest nor censorship but the opportunity to exert full creative control over his work.

Few of the interviews in this volume are likely to have been seen or read widely, for most have been gleaned from publications not in general circulation. Interviews from U.S. military publications attest to Caniff's status as a spokesman for the military, particularly for the Air Force. These interviews reveal how Caniff contributed to uplifting servicemen's wartime morale with both Terry and the Pirates and Male Call, a somewhat risqué strip he drew for military newspapers, and how Caniff's loyalty to the military cost his strip vital circulation as Vietnam War protest mounted.

Besides interviews this collection includes rare examples of Caniff's graphic art--preliminary sketches for Steve Canyon, pin-ups from military publications, drawings he created for the magazine of his college fraternity, and samples of vintage strips he drew.

68,6 MB
2 kwi 19 16:24

Understanding Comics. The Invisible Art (1994) By Scott McCloud.cbr

The bestselling international classic on storytelling and visual communication

"You must read this book." — Neil Gaiman

Praised throughout the cartoon industry by such luminaries as Art Spiegelman, Matt Groening, and Will Eisner, Scott McCloud's Understanding Comics is a seminal examination of comics art: its rich history, surprising technical components, and major cultural significance. Explore the secret world between the panels, through the lines, and within the hidden symbols of a powerful but misunderstood art form.

75,4 MB
2 kwi 19 15:56

The world of Edward Gorey (1996).cbr

Authors: Clifford Ross, Karen Wilkin, Edward Gorey (Illustrator)
Hardcover: 189 pages
Publisher: Harry N. Abrams (September 1, 1996)
Language: English

Edward Gorey is an author and an illustrator who has carved a unique niche creating macabre graphic novels that are part satire and part social commentary--comics for adults. Though often relating lurid tales of Victorian crime, Gorey eschews blood and gore in favor of atmosphere and humor. Here the editors have collected a representative sample of his work. Ross, an artist, and Wilkin, an art critic, also provide a useful introductory essay on Gorey's work and an informative interview with him. The book includes a complete bibliography and photographs of Gorey's library and studio.

Habitual watchers of PBS TV's long-running Mystery! may constitute the largest number of Edward Gorey fans--provided, of course, that they all love the show's animated introduction, for it is Gorey's contribution. Long before the show, Gorey had attracted a staunch band of admirers with his gravely humorous rhymed stories set in an Edwardian never-never land and illustrated in children's picture-book fashion, one drawing per page or line of verse. If your child had a somewhat morbid sense of humor, they could be marvelous children's books, but they were basically for adults fascinated by Gorey's literary and artistic allusions and the droll dreariness of his densely crosshatched style (although he rarely uses color, his thicket of lines ineluctably conjures them in the mind's eye; of course, all are the hues of dusk). Besides a little gallery of his work, this sampler includes a literate admiration by Wilkin and a splendidly amusing tete-a-tete with the artist by Ross. Ray Olson

CBR VERSION

45,6 MB
8 mar 19 19:01

Ascending peculiarity. Edward Gorey on Edward Gore y (2001).pdf

Edward Gorey's extraordinary and disconcerting books are avidly sought and treasured throughout the world, but until now little has been known about the man himself. While he was notoriously protective of his privacy, Gorey did grant dozens of interviews over the course of his life. And as these conversations demonstrate, he proved to be unfailingly charming, gracious, and fascinating.
Here is Gorey in his own words, ruminating on everything from French symbolist poetry to soap operas, from George Balanchine and the unique beauty of ballet to Victorian photographs of dead children. We meet the artist in his ramshackle, book-lined studio in Manhattan and his equally bizarre house on Cape Cod. He describes his legendary upbringing and vast range of influences, as well as how he managed to work amid all his cats. Ascending Peculiarity is a rare and wonderful entree into the inner workings of an artistic genius.

Includes reproductions of previously unpublished drawings and photographs

46,1 MB
4 sty 19 14:25

Graphic subjects. Critical essays on autobiography and graphic novels (2011) by Michael A. Chaney.pdf

Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman's Maus, David Beauchard's Epileptic, Marjane Satrapi's Persepolis, Alan Moore's Watchmen, and Gene Yang's American Born Chinese.

These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.

"This is a varied but well-focused collection of essays that is more thorough than anything else in print. Readers of graphic novels and autobiography will need to start here to learn the basic principles of discussion and terms of discourse."
—M. Thomas Inge, author of Comics as Culture

216,6 MB
29 gru 18 22:24

The Comic Book History of Comics (2012) Fred Van L ente, Ryan Dunlavey.cbr

The Comic Book History of Comics
Language : English | Year : 2012 | Size : 217 MB

obrazek

For the first time ever, the inspiring, infuriating, and utterly insane story of comics, graphic novels, and manga is presented in comic book form! The award-winning Action Philosophers team of Fred Van Lente and Ryan Dunlavey turn their irreverent-but-accurate eye to the stories of Jack Kirby, R. Crumb, Harvey Kurtzman, Alan Moore, Stan Lee, Will Eisner, Fredric Wertham, Roy Lichtenstein, Art Spiegelman, Herge, Osamu Tezuka – and more! Collects Comic Book Comics #1-6.

52,1 MB
16 lis 18 18:51

Tintin, Mon Copain (2000) by Léon Degrelle.cbr

Tintin mon copain est un ouvrage de Léon Degrelle, paru en 2000 de façon confidentielle plusieurs années après son décès, survenu en mars 1994, aux prétendues « éditions du Pélican d'or » (les éditeurs réels préférant rester anonymes afin d'éviter des poursuites judiciaires). Celui-ci y affirme avoir inspiré le personnage de Tintin à Hergé. Cet ouvrage est surtout une autobiographie apocryphe de Léon Degrelle.

L’auteur utilise la notoriété d'Hergé et de ses personnages pour dire le mal qu'il pense de la démocratie et l'admiration qu'il porte au IIIe Reich.

Originellement tiré à 1 000 exemplaires, l'ouvrage a été interdit de vente en Belgique et en France pour contrefaçon au droit d'auteur après une plainte des ayants droit, Moulinsart SA. 850 exemplaires du premier tirage auraient été saisis et détruits1. Bien que l'ouvrage ait été depuis réimprimé, il fait l'objet d'un juteux marché spéculatif auprès des collectionneurs de Tintin et de Léon Degrelle grâce à sa supposée rareté.

110,8 MB
5 lis 18 22:04

Les bijoux ravis - une lecture moderne de Tintin ( 1984) by Benoît Peeters & Hergé.cbr

Scénario: Benoît Peeters
Dessin: Hergé
Couleurs: N&B
Editeur: Magic Strip
Collection: Le Siècle d'Hergé

Texte érudit mais qui reste très agréable à lire et qui fait apparaître une multitude de liens entre les éléments de l'intrigue: Hergé a-t-il à ce point construit son œuvre? Réponse dans l'interview qu'il donne aux auteurs à la fin de l'ouvrage.

69,2 MB
17 paź 18 22:05

Le mystere Tintin (2016) by Renaud Nattiez.pdf

Le Mystère Tintin
Les raisons d’un succès universel
Renaud Nattiez, couverture de Stanislas Barthélémy
DOMAINE(S) : Bande dessinée
GENRE(S) : Essai
THÈME(S) : Histoire de la bande dessinée / théorie de la BD / critique de la BD, Hergé / Tintin
COLLECTION : Réflexions faites
PAGINATION : 368 pages

« Je vous assure que je ne comprendrai jamais le succès de Tintin. Pour moi, il doit y avoir, au départ, un malentendu… », avouait Hergé. Plus de trente ans après sa mort et quarante ans après la parution du dernier album achevé, le succès de Tintin perdure. L’universalité de son audience n’est plus à démontrer, avec une traduction en plus de cent langues. Mais s’est-on vraiment interrogé sur les raisons de ce succès, par-delà la reconnaissance de l’immense talent du dessinateur et scénariste belge ?

La littérature savante et critique autour de Tintin est pléthorique (biographies de l’auteur, interprétations psychanalytiques, analyses socio-politiques, décryptage du contexte historique). Renaud Nattiez prend le parti de suivre une autre démarche, qui s’appuie sur le contenu même de l’œuvre d’Hergé.

Le vérisme, la facilité à s’identifier au héros grâce à son indétermination, les nombreux niveaux de lecture et la diversité des mobiles au service d’un objectif moral clair contribuent au succès universel de Tintin. Mais ces éléments ne suffiraient pas à expliquer un triomphe aussi durable, s’ils ne s’accompagnaient d’un atout supplémentaire déterminant que Le Mystère Tintin nous dévoile peu à peu…

Grâce à une méthode d’analyse rigoureuse qui n’exclut pas quelques détours par la philosophie, ce livre renouvelle en profondeur notre compréhension des Aventures de Tintin.

53,4 MB
17 paź 18 22:01

May Contain Graphic Material (2004) by M. Keith Bo oker.pdf

Since the first Superman film came to the screen in 1978, films adapted from comics have become increasingly important as a film form. But 1978 was also important because it was the year of release for Will Eisner's A Contract with God, and Other Stories, generally credited as the first long-form comic book to label itself a graphic novel. Since that time, advances in computer-generated special effects have significantly improved the ability of film to capture the style and action of comics, producing such hugely successful films as X-Men (2000) and Spider-Man (2002). Meanwhile, the genre of the graphic novel has greatly evolved as a form―especially through the works of people like Frank Miller and Alan Moore―taking comics in dramatically new and different directions, generally darker and more serious than conventional comics. Graphic novels have also formed the basis for less visually spectacular, but intelligent and thoughtful films such as Ghost World (2001) and American Splendor (2002). Booker surveys this important development in film history, tracking the movement to a more mature style in comics, and then a more mature style in films about comics. He focuses on detailed discussions of 15 major films or franchises, but also considers the general impact of graphic novels on the style and content of American film in general.

The Batman franchise, especially in the 1989 film and in 2005's Batman Begins, has provided adaptations of a classic comic-book motif inflected through the Dark Knight graphic novels of Frank Miller. The marriage of new film technology and the development of the genre of the graphic novel has produced a number of important innovations in film, including such breakthrough efforts in visual art as The Crow (1994), and Sin City (2005). Films such as Road to Perdition (2002) and A History of Violence (2005) have provided interesting adaptations of noirish graphic novels that rely somewhat less on visual style to achieve their effects.

27,7 MB
17 paź 18 21:56

Comics in Translation - One Shot - (Zanettin) (200 8, 2014).epub

Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'.

Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit.

The volume features illustrations from the works discussed and an extensive annotated bibliography.

Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.

10,5 MB
17 paź 18 21:55

Comics in Translation - One Shot - (Zanettin) (200 8, 2014).pdf

Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'.

Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit.

The volume features illustrations from the works discussed and an extensive annotated bibliography.

Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.