DOCSLIB.ORG

Bête Et Méchant: Politics, Editorial Cartoons and Bande Dessinée in the French Satirical Newspaper Charlie Hebdo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bête Et Méchant: Politics, Editorial Cartoons and Bande Dessinée in the French Satirical Newspaper Charlie Hebdo Bête et méchant: Politics, Editorial Cartoons and Bande dessinée in the French Satirical Newspaper Charlie hebdo Jane Weston Abstract The weekly French satirical newspaper, Charlie hebdo, which originally ran from 1969 to 1982, pending a revival in 1992, distinguishes itself through its bête et méchant [‘stupid and nasty’] humorous heritage, defined in its parent publication, Hara-Kiri, as the freedom to make jokes on potentially any subject, however taboo. Whilst this satirical ethos predominated in Charlie hebdo up to 1982, its enduring place in the publication has become more ambiguous since 1992, with the abrupt sacking of Siné in July 2008 seemingly belying its vigorous defence of provocative humour in the context of the 2006 Danish caricature affair. An important underlying continuity nonetheless remains in Charlie hebdo and transcends the bête et méchant project: that of negotiating a space for satirical expression that has continuously engaged with both elements of bande dessinée and the rich French tradition of polemical editorial cartooning and caricature. Single-panelled editorial cartooning,1 bande dessinée,2 and hybridisations of the two have always coexisted in the French satirical newspaper Charlie hebdo [‘Charlie Weekly’], both within its original format, which ran from 1969 to 1982, and since its revival in 1992. One of the most important specificities of this satirical weekly publication within the French humorous press is its association with bête et méchant [‘stupid and nasty’] humour, the provocative satirical brand of the group of humorists and cartoonists who first conceived of the term in the early 1960s in the context of the monthly satirical magazine Hara-Kiri.3 Bête et méchant humour favoured scatology, sexually explicit material and black humour in general. A key early example of such spirit was a parodical, but genuine advertisement that appeared in Hara-Kiri mensuel in December 1 Editorial cartoons are defined for these purposes as single-framed cartoons intended to provide some kind of commentary on real-life events. 2 Bande dessinée is defined here as extended, multi-panelled word-image narrative on a wide variety of subject matter, fictional or otherwise. 3 The magazine first appeared in September 1960 as a ‘mensuel satirique’, changing to ‘mensuel bête et méchant’ in May 1961. European Comic Art 2.1 ISSN 1754-3797 (print) 1754-3800 (online) © Liverpool University Press 110 jane weston 1964 for Renoma, a Parisian tailor, which claimed that the shop had been a former favourite of Hitler, who had bought all his favourite suits there. Whilst this piece provoked violent protests by Jewish deportee groups, the journal’s founder François Cavanna situates such humour within a serious justification of the group’s ethos as a determinedly de-sacralising force: Rien n’est sacré. Principe numéro un. Pas même ta propre mère, pas les martyrs juifs, pas même ceux qui crèvent de faim… Rire de tout, de tout, férocement, amère- ment, pour exorciser les vieux monstres. C’est leur faire trop d’honneur que de ne les aborder qu’avec la mine compassée. C’est justement du pire qu’il faut rire le plus fort, c’est là où ça te fait le plus mal que tu dois gratter au sang. [‘Nothing is sacred. Principle number one. Not even your own mother, not the Jewish martyrs, not even people starving of hunger… Laugh at everything, ferociously, bitterly, to exorcise the old monsters. It would pay them too much respect only to approach them with a straight face. It’s exactly about the worst things that you should laugh the loudest, it’s where it hurts the most that you should scratch until it bleeds.’]4 Defined as the freedom to laugh about potentially any subject, however taboo or sensitive, bête et méchant humour was adopted from Hara-Kiri and predomi- nant in the original Charlie hebdo up to 1982. In contrast, only an ever-dimin- ishing echo of it has persisted since 1992, although it undeniably remains, as a central tenet of Charlie hebdo’s original spirit, a key reference point in debates surrounding the publication’s current satirical tone. Over the past 15 years, the ongoing importance of bête et méchant humour in relation to Charlie hebdo has been illustrated by the growing sense of betrayal expressed by a signifi- cant portion of its readership over its turn to an increasingly serious, and less juvenile, satire, under the strong and autocratic editorship of Philippe Val.5 Under Val, the defence of a serious set of values has indeed far more explicitly nourished the newspaper’s editorial line than was ever the case in the original Charlie hebdo. In certain contexts it has chosen to place such concerns above the perpetuation of bête et méchant humour, which tends to reject barriers to provocation and jealously protect the freedom of contributors to take risks in terms of their jokes, regardless of its potential to violate seriously held moral convictions. The sacking in July 2008 of the long-standing contributor Siné for his refusal to apologise for contributing jokes seen by some to leave the news- paper open to accusations of anti-Semitism illustrates how, at least in certain contexts, the original profoundly libertarian tenets of the newspaper now take 4 François Cavanna, Bête et méchant (Paris: Belfond, 1982), 233. 5 Present-day contributor Charb stated, in interview, about the ethos in the new Charlie hebdo: ‘Méchant peut-être, bête de moins en moins. La nouvelle formule de Charlie, c’est moins des gags ou des plaisanteries gratuites qu’avant […] c’est un peu plus prétentieux qu’avant, mais c’est aussi plus politique, comme orientation’ [‘Nasty, perhaps, but less and less stupid. The new formula at Charlie is fewer gratuitous gags and jokes than before […] it’s a little more pretentious before, but it’s also a more political orientation’]. Interview of 29 January 2004. Politics, Editorial Cartoons and Bande dessinée in Charlie hebdo 111 second place to editorial prudence, even at the cost of alienating a portion of its readership.6 An important counter-balance to such changes in the satirical ethos of Charlie hebdo is the extent to which there is still aesthetic continuity with the original publication. Beyond the presence of cartoonists from the original Charlie hebdo, this is because it continues to foster the cross-pollination of elements of bande dessinée and traditional editorial cartooning in its very distinctive house style. This has, to an extent, offset its now frequently lacklustre engagement with libertarian and provocative humour as a guarantor of continuity. It is, I shall argue, the principal reason why today’s Charlie hebdo is still readily identifi- able as a ‘spiritual’ successor to the original newspaper. It continues to engage with current affairs through various forms of cartoon art. In this analysis, I shall therefore examine the evolving role of bête et méchant humour in relation to Charlie hebdo and its predecessor, Hara-Kiri, situating such changes in the context of the ongoing opportunity it accords to its cartoonists: that of negoti- ating a space for satirical expression which has continuously engaged both with bande dessinée and a rich French tradition of editorial cartooning and caricature dating back to the nineteenth century. The ‘Original’ Charlie hebdo: 1969–1981 Charlie hebdo was first published under the name of Hara-Kiri hebdo in 1969, as a weekly supplement to the radically provocative satirical publication, Hara- Kiri, where bête et méchant was first created to label its satirical ethos. Hara-Kiri was founded in large part through the efforts of François Cavanna, its editor and major talent-spotter, and Georges Bernier, who was responsible for its sales and distribution and who later became one of its emblematic and anarchic bête et méchant humorists, under the pseudonym Le Professeur Choron. Cavanna’s editorship served to nourish bête et méchant humour in Hara-Kiri, due to his lucid instinct for how such humour could provide contributors and readers alike with a source of illicit, carnivalesque pleasure where painful subjects could be explored in a context of unusually high freedom from any imperatives to take them seriously.7 Humour generally taboo in the press, like jokes on the 6 In an article in Le Monde of 22 August 2008 (‘De quoi Siné est-il le nom?’ [‘Of what is Siné the Name?’]),Bernard-Henri Lévy presented Val’s decision as a response to a violation of the founding pact of Charlie hebdo. The existence of any such pact refers to the new version of Charlie hebdo rather than the original, which was never overtly explicit in terms of its prohibitions for humour: ‘Voilà un directeur – Philippe Val – qui rappelle au chroniqueur le pacte fondateur qu’est, pour Charlie hebdo, leur journal, le refus catégorique de toute forme d’antisémitisme ou de racisme et qui lui demande, en conséquence, de s’excuser ou de s’en aller’ [‘Here is a director – Philippe Val – who reminds this contributor of the founding pact which is, for Charlie hebdo, the categorical refusal of all forms of anti-Semitism or racism and which therefore asks him to apologise or to leave’]. 7 Cf. Cavanna’s autobiographical work, Bête et méchant. 112 jane weston military, death and sexuality were therefore a staple in the magazine.8 Hara-Kiri was above all created as a reaction against much of the popular humorous post-war French press, with newspapers such as Marius, Le Hérisson [‘The Hedgehog’] and L’Almanach Vermot being typical of the style rejected.9 Hara-Kiri sought to challenge thematic and aesthetic blandness with graphic images, drawing on scatological, sexually explicit material and elements of the grotesque. Its front cover photographs were exemplary in this respect, becoming increasingly shocking and facetious as the decade progressed.
Load more

Recommended publications
  • C'est Dur D'être Aimé Par Des Cons
    « C’EST DUR D’ÊTRE AIMÉ PAR DES CONS » LE PROCÈS un fi lm de DANIEL LECONTE « IT’S HARD BEING LOVED BY JERKS » THE TRIAL a fi lm by DANIEL LECONTE FILM EN STOCK présente / presents PRESSE Laurence Granec & Karine Ménard 5 bis, rue Kepler - 75116 Paris SCÉANCE SPÉCIALE T. 01 47 20 36 66 F. 01 47 20 35 44 [email protected] CANNES Résidence du Gray d’Albion 20 bis, rue des Serbes - entrée D T. 04 93 68 17 84 / 04 93 68 19 33 Laurence Granec 06 07 49 16 49 Karine Ménard 06 85 56 22 99 « C’EST DUR D’ÊTRE AIMÉ PAR DES CONS » INTERNATIONAL PRESS IN CANNES LE PROCÈS ALIBI COMMUNICATIONS Brigitta Portier / Barbara Van Lombeek un fi lm de DANIEL LECONTE In Cannes : offi ce at Unifrance T. 0033 6 29607541 « IT’S HARD BEING LOVED BY JERKS » 5, rue du Chevalier de Saint George - 75008 Paris T. 01 42 96 01 01 THE TRIAL F. 01 40 20 02 21 a fi lm by elagesse@pyramidefi lms.com DANIEL LECONTE www.pyramidefi lms.com WORLD SALES 5, rue du Chevalier de Saint George - 75008 Paris T. 33(0) 1 42 96 02 20 F. 33(0) 1 40 20 05 51 yoann@pyramidefi lms.com CANNES MARKET Riviera-F6 DURÉE / RUNNING TIME 118’ T. 04 92 99 32 36 PHOTOS & DOSSIER DE PRESSE TÉLÉCHARGEABLES SUR WWW.PYRAMIDEFILMS.COM FILM EN STOCK IN CANNES Raphaël Cohen, Élodie Polo, Chloé Blondel Offi ce at Unifrance T. 0033 1 44 54 25 89 SYNOPSIS Pour avoir reproduit les douze caricatures danoises ayant déclenché la colère des musulmans aux quatre coins du monde, Philippe Val, le patron de Charlie Hebdo, journal satirique français, est assigné en justice par la Mosquée de Paris, la Ligue Islamique Mondiale et l’Union des Organisations Islamiques de France.
    [Show full text]
  • Controversy, Consensus, and Contradictions
    Humour in Contemporary France Controversy, Consensus, and Contradictions Studies in Modern and Contemporary France 3 Studies in Modern and Contemporary France Series Editors Professor Gill Allwood, Nottingham Trent University Professor Denis M. Provencher, University of Arizona Professor Martin O’Shaughnessy, Nottingham Trent University The Studies in Modern and Contemporary France book series is a new collaboration between the Association for the Study of Modern and Contemporary France (ASMCF) and Liverpool University Press (LUP). Submissions are encouraged focusing on French politics, history, society, media and culture. The series will serve as an important focus for all those whose engagement with France is not restricted to the more classically literary, and can be seen as a long-form companion to the Association’s journal, Modern and Contemporary France, and to Contemporary French Civilization, published by Liverpool University Press. Humour in Contemporary France Controversy, Consensus, and Contradictions JONATH A N ERVIN E Humour in Contemporary France Liverpool University Press First published 2019 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2019 Jonathan Ervine The right of Jonathan Ervine to be identified as the author of this book has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available ISBN 978-1-78962-051-1 cased eISBN 978-1-78962-464-9 Typeset by Carnegie Book Production, Lancaster Contents Contents Acknowledgements vii Introduction.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title The Algerian War of Independence in Algerian bande dessin�e Permalink https://escholarship.org/uc/item/2tk6g7bg Author Dean, Veronica Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Algerian War of Independence in Algerian bande dessinée A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Veronica Katherine Dean 2020 Copyright by Veronica Katherine Dean 2020 ABSTRACT OF THE DISSERTATION The Algerian War of Independence in Algerian bande dessinée by Veronica Katherine Dean Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2020 Professor Lia N. Brozgal, Chair “The Algerian War of Independence in Algerian bande dessinée” is animated by the question of how bande dessinée from Algeria represent the nation’s struggle for independence from France. Although the war is represented extensively in bande dessinée from France and Algeria, French texts are more well-known than their Algerian counterparts among scholars and bédéphiles alike. Catalysts behind this project are the disproportionate awareness and study of French bande dessinée on the war and the fact that critical studies of Algerian bande dessinée are rare and often superficial. This project nevertheless builds upon existing scholarship by problematizing its assumptions and conclusions, including the generalization that Algerian bande dessinée that depict the war are in essence propagandistic in nature. Employing tools of comics analysis and inflecting my research with journalistic work coming out of Algeria, this project attempts to rectify the treatment of Algerian bande dessinée in critical scholarship by illustrating ii the rich tradition of historical representation in the medium.
    [Show full text]
  • Sur Choron, Dernière
    ChoronPour restera beaucoup, le monsieur chauve et ivre qui mettait sa bite dans les flûtes de champagne. horOn, Remarquez, y a pire comme trace C laissée sur terre. BHL, exemple au hasard, ne laissera-t-il pas derniÈre l’image d’un triste sire LE FILM qui montrait sa chemise blanche documentaire dans les postes de télévision ? de Pierre Carles Quoi qu’il en soit, le Prof et Martin, était bien plus que cela. Avec Georges Bernier, Quand j’étais jeune (et vrai) journaliste, de la bande des dit Choron, Cavanna, Cabu, Siné, NAbe, Hara-Charlie-Kiri-Hebdo, Vuillemin, Wolinski, Val… c’était lui qu’on voulait tous Choron, dernière - 1 h 38’, couleur. 1,33, mono, 2008. Réalisation : Pierre Carles et Martin. rencontrer. Entretiens : Xavier Naizet. Image : Éric Maizy. Son : Bertrand Bourdin, Fabien Briand, Marie- Parce qu’il avait la classe. Pierre Thomat. Montage : Pierre Carles (assistant : Ludovic Raynaud). Mixage : Cristinel Sirli. Le panache. L’esprit vif. Production : Muriel Merlin, 3B productions. Coproduction : Pages et Images, Yorame Merovach, Créative Sound. Avec le soutien de la Région Picardie et du Festival de la BD d’Angoulême. La grande gueule qui cogne. Distribution : Tadrart Films, 01 43 13 10 68. [email protected] Les autres étaient bien gentils www.choronderniere.com de dessiner et d’exprimer leurs idées, mais qui leur fournissait le papier ? C’était bien lui. Escroc, menteur, voleur, peut-être. Mais qui avait les Bête et méchant couilles d’être leur directeur de Charlie Hebdo appartient maintenant à l’histoire. Dans cinquante ans, on étudiera en cercles de sociologues ce phénomène qui sau- publication ? D’aller jusqu’aux va le journalisme de la fin du siècle.
    [Show full text]
  • La Bande À Charlie
    LA BANDEÀ CAVANNA CHORON REISER GEBÉ MÉCHAMMENT ROCK ISABELLE Photos 1-2-3-4-5-7-8-12, Roger-Viollet/ 6,Magnum/ 10-11,Giraudon CHARLIE FOURNIER DELFEIL DE TON WOLINSKI CABU PAULE WILLEM Du même auteur aux Éditions Stock Messieurs du Canard Jean Egen LA BANDE À STOCK Tous droits réservés pour tous pays © 1976, Éditions Stock « Oui, oui, je lis Charlie-Hebdo. Ce n'est pas exactement le style que je préfère, mais dans les textes de Cavanna - je dois lui ren- dre cette justice -, il y a, assez souvent, de bonnes, de saines réactions. » HUBERT BEUVE-MÉRY (interrogé par Jacques Chancel). « On peut certes trouver irritantes, insup- portables même, la verve célinienne, la har- gne universelle, la vulgarité outrageusement provocante de Charlie-Hebdo, qui mêle à plaisir la dérision, la scatologie et l'humour noir. On peut se demander si cette volonté de choquer pour se faire remarquer et cette manière de hurler pour se faire entendre sont bien dans la ligne du gauchisme version Mai 68 revue et adaptée pour 1974. « Mais, qu'il soit ou non pré-rétro, Charlie- Hebdo constitue en matière journalistique la création la plus originale, et peut-être la seule qu'on ait enregistrée depuis bien des années ; et cela pour la simple raison que ses anima- teurs ainsi que bon nombre de ses rédacteurs et dessinateurs possèdent incontestablement ce don rare, ce petit rien de plus qui se nomme le talent. » PIERRE VIANSSON-PONTÉ (Le Monde). « Charlie-Hebdo a apporté une nouvelle formule dans le journalisme moderne... Il a intégré, pour en faire une arme dont il se sert avec talent, le mauvais goût.
    [Show full text]
  • Il Primo Aprile 1965 Nasceva La Rivista Che Rivoluzionò Il Fumetto (E Un Po’ Anche L’Italia) 50 Anni Di 1 APRILE 1965, LA PRIMA COPERTINA DI “LINUS”
    DI REPUBBLICA laDOMENICA 22 MARZO 2015 NUMERO 524 domenica La copertina. Videogiochi, addio vecchi eroi Straparlando. Andrea Carandini: “ Così scavo in me stesso” Cult Mondovisioni. Un trampolino a Oslo Il primo aprile 1965 nasceva la rivista che rivoluzionò il fumetto (e un po’ anche l’Italia) 50 anni di 1 APRILE 1965, LA PRIMA COPERTINA DI “LINUS”. PER GENTILE CONCESSIONE DELL’EDITORE BALDINI&CASTOLDI NATALIA ASPESI gezione, con i libri esposti sui tavoli in modo L’attualità UMBERTO ECO dopo la New York Review of Books ha voluto che si possano prendere in mano e leggere: “Vi aspetto” pubblicare quel saggetto come se fosse una MPROVVISAMENTE, IN QUEL LUMINOSO 1965, Feltrinelli ha addirittura avuto il coraggio di E NON VADO ERRATO siamo rimasti inedita riscoperta di Schulz. Nemo profeta in i fumetti diventarono chic, preziose metterci un juke-box in libreria. Le signore Zineb sfida solo in quattro, testimoni viventi patria, si vede. Eppure avevo appreso pro- opere di contenuto artistico, sociale, po- della MilanoLibri viaggiano, e tornano a Mi- gli dei mirabili eventi che hanno por- prio da saggisti americani che i fumetti do- litico, letterario, che richiedevano l’at- lano cariche di tomi stranieri illustrati e cu- integralisti tato alla nascita di Linus: Anna vevano essere considerati con attenzione Itenzione degli intellettuali più brillan- riosi. Cominciano a importare dagli Stati L’immagine SMaria Gandini, Bruno Cavallone, critica. Di quei tempi ricordo con nostalgia le ti, in quel tempo una vera folla di giovani e Uniti, con crescente successo, i libri a strisce Vittorio Spinazzola ed io. Allora credevamo serate passate al bar Oreste di piazza Mira- giovanilisti combattivi, più o meno comuni- disegnati da Charles M.
    [Show full text]
  • Isabelle Monin Et Cabu
    Isabelle monin et cabu Continue Ujourd'hui c'est la paralysie g'no- For You Sanders Show Cabu also released political cartoons for his rival Le Canard encha'n and other magazines. His most famous characters were Mont Bof (My Shunya), the embodiment of bullish French provincial complacency. Charlie Hebdo published the cartoons in solidarity with the Danish newspaper and make a point about freedom of expression in France, which has the largest Muslim population in Europe. But his experience in Algeria turned him into a fierce anti-militarist, and he remained a tireless campaigner for non-violence and a critic of the French political establishment. The boy became better known in France as a punk singer and songwriter Mano ... In the 1960s, Cabu had a son, Isabelle Monin, co-founder of the environmental magazine La Gueule. Isabelle Monin nous exit le 26 dechembre. The boy became better known in France as punk singer-songwriter Mano Solo, who died of AIDS in 2010. The philanthropist and heir to the Littlewoods Empire, who became the generous patron of Mano Solo, was born Emmanuel Cabut, was a French singer. In the 1960s, Cabu had a son, Isabelle Monin, co-founder of the environmental magazine La Gueule. Cabu also produced political cartoons for his rival Le Canard encha'n and other magazines. But his experience in Algeria turned him into a fierce anti-militarist, and he remained a tireless campaigner for non-violence and a critic of the French political establishment. BORN En 1986, il apprend sa s'ropositivit. However, in March 2007, after a hearing that was considered a trial case on freedom of expression, Val was acquitted by a Paris court.
    [Show full text]
  • Nicolas Sarkozy – Charyzmatyczny Pragmatyk Czy Populista W Nowym Stylu?
    VIII: 2011 nr 4 Tomasz Młynarski NICOLAS SARKOZY – CHARYZMATYCZNY PRAGMATYK CZY POPULISTA W NOWYM STYLU? Wprowadzenie Celem artykułu jest próba analizy na przykładzie polityki Nicolasa Sarkozy’ego, na ile populistyczne zachowania i gesty oraz retoryka polityczna, są narzędziem utrzymania władzy oraz pozyskania poparcia społecznego. Sarkozy zgłaszając swoją kandydaturę 30 listopada 2006 r. do wyborów prezydenckich, jasno po- wiedział, że chce zmiany Francji, francuskiej polityki europejskiej i zagranicznej, ograniczenia rosnącego bezrobocia, inflacji i przywilejów socjalnych. Autor na przykładzie polityki Sarkozy’ego próbuje odpowiedzieć, czy bo- gaty w chwytliwe hasła i emocjonalne treści język, stał się językiem współczesnej komunikacji politycznej czy skuteczną metodą kreowania medialnego wizerunku polityka i wzrostu popularności. Na ile konieczność stałego dostosowywania się do nowych sytuacji i formułowania, trudnych, czasem przesadnych obietnic, jest działaniem populistycznym, a na ile wyrazem politycznej determinacji zmian. Na ile chwytliwe hasła, które coraz mocniej skupiają uwagę elektoratu, służą realizacji rzeczywistych zmian zgodnie z interesem państwa, na ile zaś stają się tylko uży- tecznym instrumentem prowadzenia bieżącej polityki zgodnej z oczekiwaniami społecznymi. 154 TOMASZ MŁYNARSKI Nicolas Sarkozy – objęcie władzy i nadzieje Obejmując urząd prezydenta V Republiki w maju 2007 r. Nicolas Sarkozy cieszył się dużym poparciem Francuzów. Charyzma Sarkozy’ego i jego hasło „Rupture tranquille” (łagodne zerwanie), porwało
    [Show full text]
  • Je Suis Charlie Fa, Dopo La Strage Nella Redazione Di
    - ta “Je suis Charlie Vfa, dopo la strage nella redazione di “Charlie Hebdo” e quella all’interno del supermercato “kosher” alla periferia della città. È stata quella che il presidente François Hollande aveva chiamato la “marcia per la Repub- blica”, una manifestazione di tutti i francesi, uniti, oltre le diversità politiche, in difesa della libertà di stampa, in difesa delle istituzioni repubblicane, in difesa della democrazia, della tolleranza e contro l’oscurantismo e il terrorismo di matrice islamista. L’abbiamo vista tutti in diretta televisiva ed è stato uno spettacolo incredibile di passione, di orgoglio, di parte- cipazione e di dolore. È stato come se all’improvviso tutta la Francia si fosse resa conto che qualcuno e qualcosa di terribile aveva attaccato il Paese, la sua laicità, le sue tradizioni di ospitalità, il suo essere rifugio, da sempre, per i fuggitivi dai totalitarismi, i suoi non sempre riusciti tentativi di integrazione, il suo voler pagare il debito di un passato coloniale mai dimenticato. Insomma, una Francia, scossa dalle stragi nel cuore della città, colpita all’improvviso da qualcosa di imprevedibile e ingiusto che tutti hanno sentito sulla pelle, come è successo per l’attacco terrorista a Copenaghen. Una ferita anche all’orgoglio della Francia della Rivoluzione, dell’illuminismo e di Voltaire. Ed è proprio per tutto questo che due milioni di persone sono scese in strada, subito dopo le stragi, per dire che il Paese non Così si è visto Hollande girare a piedi per le strade della città dopo essere uscito dall’Eliseo e poi lo si è ritro- arabi, russi e di altri “mondi” lontanissimi da Parigi.
    [Show full text]
  • La Caricature Et Le Dessin De Presse
    #je dessine kit pédagogique La caricature et le dessin de presse Les dessinateurs de presse, à la fois artistes et journalistes, forgent des armes de concision et s’appuient sur une connivence avec le public. Les élèves peuvent avoir du mal à comprendre ce genre très codé. En France, la caricature est une tradition républicaine, protégée par la loi sur la liberté de la presse de 1881 et par la jurisprudence des tribunaux. LA CARICATURE ET LE DESSIN DE PRESSE Historique Le mot caricatura (de l’italien caricare : charger, exagérer) a été employé pour la première fois dans la préface d’un album d’Annibal Carrache en 1646. Il donnera les mots français « charge » et « caricature », ce dernier mot apparaissant pour la première fois dans les Mémoires de d’Argenson en 1740. Mais le traitement déformé de la physionomie s’inscrit dans la tradition de la satire visuelle et on en trouve des traces dans l’Antiquité égyptienne, grecque et romaine. Historiquement, en France, l’essor de la caricature politique a toujours correspondu à des périodes de crises sociales et politiques : mouvement de la Réforme, Révolution française, monarchie de Juillet, affaire Dreyfus. Au XIXe siècle, le développement de la presse et l’invention de la lithographie vont donner naissance à un grand nombre de journaux et, de 1901 à 1914, L’Assiette au Beurre, hebdoma- daire de seize pages en couleurs à tendance anarchiste, peut être considéré comme un ancêtre de publications issues des mouvements sociaux ou étudiants des années 1960 comme Hara-Kiri (1960) et Charlie Hebdo (1970). 1 1 : Honoré Daumier (1808-1879), Les Poires, caricature d’après un dessin original de Charles Philippon (1806-1862), La Caricature, janvier 1832, Paris, musée Carnavalet.
    [Show full text]
  • Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling
    International Journal of Communication 13(2019), Feature 2216–2230 1932–8036/2019FEA0002 Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada At the Asian Transmedia Storytelling in the Age of Digital Media Conference held in Vancouver, Canada, June 8–9, 2018, webtoonist Yoon Tae Ho as a keynote speaker shared several interesting and important inside stories people would not otherwise hear easily. He also provided his experience with, ideas about, and vision for transmedia storytelling during in-depth interviews with me, the organizer of the conference. I divide this article into two major sections—Yoon’s keynote speech in the first part and the interview in the second part—to give readers engaging and interesting perspectives on webtoons and transmedia storytelling. I organized his talk into several major subcategories based on key dimensions. I expect that this kind of unusual documentation of this famous webtoonist will shed light on our discussions about Korean webtoons and their transmedia storytelling prospects. Keywords: webtoon, manhwa, Yoon Tae Ho, transmedia, history Introduction Korean webtoons have come to make up one of the most significant youth cultures as well as snack cultures: Audiences consume popular culture like webtoons and Web dramas within 10 minutes on their notebook computers or smartphones (Jin, 2019; Miller, 2007). The Korean webtoon industry has grown rapidly, and many talented webtoonists, including Ju Ho-min, Kang Full, and Yoon Tae Ho, are now among the most famous and successful webtoonists since the mid-2000s. Their webtoons—in particular, Yoon Tae Ho’s, including Moss (Ikki, 2008–2009), Misaeng (2012–2013), and Inside Men (2010–in progress)—have gained huge popularity, and all were successfully transformed into films, television dramas, and digital games.
    [Show full text]
  • Addison Morton Walker “Old
    ADDISON MORTON WALKER “OLD CARTOONIST NEVER DIE,THEY JUST ERASE AWAY” THIS WAS ONE OF MORT WALKER’S FAVORITE SAYINGS,AND UNTIL HIS FINAL DAYS MORT LIVED BY THE WORD OF HIS MOTTO,ENGAGING MILLIONS THROUGH HIS BELOVED COMICS.AT THE AGE OF 94 MORT DIED PEACEFULLY AT HOME DUE TO COMPLICATIONS FROM THE FLU ON JANUARY 27TH 2018. DUBBED “THE DEAN OF AMERICAN CARTOONING” MORT WAS ONE OF THE MOST PROLIFIC CARTOONISTS IN COMIC ART HISTORY,WITH THE CREATION OF AS MANY AS NINE DIFFERENT SYNDICATED STRIPS TO HIS CREDIT DURING HIS LIFETIME,INCLUDING BEETLE BAILEY,THE MOST WIDELY SYNDICATED STRIP IN THE WORLD.THE FACT THAT BEETLE BAILEY IS STILL IN SYNDICATION TODAY MORE THAN 68 YEARS AFTER IT’S DEBUT,ESTABLISHES MR.WALKER AS THE LONGEST TENURED CARTOONIST ON HIS ORIGINAL CREATION IN THE HISTORY OF COMICS-A RECORD THAT MAY NEVER BE SURPASSED. ADDISON MORTON WALKER WAS BORN IN EL DORADO,KANSAS SEPTEMBER 3RD 1923 AND HAD CARTOONING ASPIRATIONS AT A VERY YOUNG AGE.”IF THERE WAS SUCH A THING AS BEING BORN INTO A PROFESSION ,IT HAPPENED TO ME.” MORT STATED IN THE INTRODUCTION TO HIS AUTOBIOGRAPHY. “FROM MY FIRST BREATH,ALL I EVER WANTED TO BE WAS A CARTOONIST.”HE DREW CARTOONS FOR HIS SCHOOL NEWSPAPER WHEN HE WAS 10,AND SOLD HIS FIRST CARTOON AT THE AGE OF 11 AND HIS FIRST COMIC STRIP,THE LIMEJUICERS,RAN IN THE KANSAS CITY JOURNAL WHEN HE WAS 13. HE SUBMITTED HIS FIRST COMIC STRIP TO A NATIONAL SYNDICATE AT THE AGE OF 15 AND SOLD MAGAZINE CARTOONS ALL OVER THE COUNTRY.BY THE TIME MORT GRADUATED FROM HIGH SCHOOL,HIS WORK WAS POLISHED AND PROFESSIONAL.MORT’S
    [Show full text]