William Grady
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780748695454
- eISBN:
- 9781474421942
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748695454.003.0011
- Subject:
- Film, Television and Radio, Film
In Christopher Frayling's book Spaghetti Westerns (1981), he highlights how the character of the Spaghetti Western has since become subsumed into later Western comic books, evidenced through the Lee ...
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In Christopher Frayling's book Spaghetti Westerns (1981), he highlights how the character of the Spaghetti Western has since become subsumed into later Western comic books, evidenced through the Lee Van Cleef-like bounty hunter featured in Morris and Goscinny's bande dessinée (French comic) Lucky Luke: The Bounty Hunter (1972). Drawing upon this relationship, this chapter will take a similar approach to Frayling, who mediates between comic book influences upon the Spaghetti Western and the later reciprocal impact of these Westerns upon the comic book. It begins by demystifying some of the tacit references to the comic-like qualities of the Italian Westerns. This provides context for the exploration of the impact of these films upon the Western comic book, primarily achieved through a case study of the bande dessinée series, Blueberry (1963–2005), by Jean-Michel Charlier and Jean Giraud. In a collection that looks to map the relocation and appropriation of the Spaghetti Western, the chapter reinterprets these Italian productions through the comic book.Less
In Christopher Frayling's book Spaghetti Westerns (1981), he highlights how the character of the Spaghetti Western has since become subsumed into later Western comic books, evidenced through the Lee Van Cleef-like bounty hunter featured in Morris and Goscinny's bande dessinée (French comic) Lucky Luke: The Bounty Hunter (1972). Drawing upon this relationship, this chapter will take a similar approach to Frayling, who mediates between comic book influences upon the Spaghetti Western and the later reciprocal impact of these Westerns upon the comic book. It begins by demystifying some of the tacit references to the comic-like qualities of the Italian Westerns. This provides context for the exploration of the impact of these films upon the Western comic book, primarily achieved through a case study of the bande dessinée series, Blueberry (1963–2005), by Jean-Michel Charlier and Jean Giraud. In a collection that looks to map the relocation and appropriation of the Spaghetti Western, the chapter reinterprets these Italian productions through the comic book.
Matthew Screech
- Published in print:
- 2005
- Published Online:
- June 2013
- ISBN:
- 9780853239383
- eISBN:
- 9781846313530
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846313530
- Subject:
- Literature, European Literature
In English-speaking countries, Francophone comic strips like Herges' ‘Les Aventures de Tin Tin’ and Goscinny and Uderzo's ‘Les Aventures d'Asterix’ are viewed — and marketed — as children's ...
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In English-speaking countries, Francophone comic strips like Herges' ‘Les Aventures de Tin Tin’ and Goscinny and Uderzo's ‘Les Aventures d'Asterix’ are viewed — and marketed — as children's literature. But in Belgium and France, their respective countries of origin, such strips — known as bandes dessinées — are considered a genuine art form, or, more specifically, ‘the ninth art’. But what accounts for the drastic difference in the way such comics are received? This book explores that difference in the reception and reputation of bandes dessinées. Along with in-depth looks at Tintin and Asterix, the book considers other major comics artists such as Jacque Tardi, Jean Giraud and Moebius, assessing in the process their role in Francophone literary and artistic culture.Less
In English-speaking countries, Francophone comic strips like Herges' ‘Les Aventures de Tin Tin’ and Goscinny and Uderzo's ‘Les Aventures d'Asterix’ are viewed — and marketed — as children's literature. But in Belgium and France, their respective countries of origin, such strips — known as bandes dessinées — are considered a genuine art form, or, more specifically, ‘the ninth art’. But what accounts for the drastic difference in the way such comics are received? This book explores that difference in the reception and reputation of bandes dessinées. Along with in-depth looks at Tintin and Asterix, the book considers other major comics artists such as Jacque Tardi, Jean Giraud and Moebius, assessing in the process their role in Francophone literary and artistic culture.
Jonathan R. Eller
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780252043413
- eISBN:
- 9780252052293
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043413.003.0020
- Subject:
- Literature, American, 20th Century Literature
Bradbury’s fascination with genre fiction art resulted in “1982: A Helicon Year for the Artists of Science Fiction.” Chapter 19 goes on to describe how Byron Preiss assembled a range of well-known ...
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Bradbury’s fascination with genre fiction art resulted in “1982: A Helicon Year for the Artists of Science Fiction.” Chapter 19 goes on to describe how Byron Preiss assembled a range of well-known artists to illustrate a new collection of Bradbury stories, Dinosaur Tales. These included Gahan Wilson, Jim Steranko, Jean Henri Giraud, David Wiesner, and Overton Loyd. The chapter also explores Bradbury’s high regard for traditional poets Phyllis McGinley and Helen Bevington in the context of his second and third Knopf volumes of his own poetry. The chapter concludes with Bradbury’s ill-fated collaboration with Japanese producer Yutaka Fujioka, Roger Allers, and Chris Lane on the juvenile animated feature, Little Nemo in Slumberland, inspired by the comic strip character by Winsor McCay.Less
Bradbury’s fascination with genre fiction art resulted in “1982: A Helicon Year for the Artists of Science Fiction.” Chapter 19 goes on to describe how Byron Preiss assembled a range of well-known artists to illustrate a new collection of Bradbury stories, Dinosaur Tales. These included Gahan Wilson, Jim Steranko, Jean Henri Giraud, David Wiesner, and Overton Loyd. The chapter also explores Bradbury’s high regard for traditional poets Phyllis McGinley and Helen Bevington in the context of his second and third Knopf volumes of his own poetry. The chapter concludes with Bradbury’s ill-fated collaboration with Japanese producer Yutaka Fujioka, Roger Allers, and Chris Lane on the juvenile animated feature, Little Nemo in Slumberland, inspired by the comic strip character by Winsor McCay.
Christian McCrea
- Published in print:
- 2019
- Published Online:
- February 2021
- ISBN:
- 9781911325826
- eISBN:
- 9781800342446
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325826.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter talks about the production of David Lynch's Dune through the lens of the film's reputation, histories, and key players. It discusses the collaboration with El Topo director Alejandro ...
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This chapter talks about the production of David Lynch's Dune through the lens of the film's reputation, histories, and key players. It discusses the collaboration with El Topo director Alejandro Jodorowsky and famed French comic artist Jean 'Moebius' Giraud for the filming of Dune. It also recounts how the project for Dune sparked to life with the arrival of Lynch, who was fresh off the success of the Academy Award-nominated film The Elephant Man. The chapter mentions Lynch's reputation before and since Dune, which became part of its story, especially how the film sits both inside and outside a canonical view of his work. It outlines the events of the energetic phase that brought the Dune project to fruition.Less
This chapter talks about the production of David Lynch's Dune through the lens of the film's reputation, histories, and key players. It discusses the collaboration with El Topo director Alejandro Jodorowsky and famed French comic artist Jean 'Moebius' Giraud for the filming of Dune. It also recounts how the project for Dune sparked to life with the arrival of Lynch, who was fresh off the success of the Academy Award-nominated film The Elephant Man. The chapter mentions Lynch's reputation before and since Dune, which became part of its story, especially how the film sits both inside and outside a canonical view of his work. It outlines the events of the energetic phase that brought the Dune project to fruition.
