Tintin Comics
European journal of American studies 12-4 | 2017 Special Issue: Sound and Vision: Intermediality and American Music Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics Lukas Etter Electronic version URL: https://journals.openedition.org/ejas/12402 DOI: 10.4000/ejas.12402 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Lukas Etter, “Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics ”, European journal of American studies [Online], 12-4 | 2017, Online since 28 December 2017, connection on 08 July 2021. URL: http://journals.openedition.org/ejas/12402 ; DOI: https://doi.org/ 10.4000/ejas.12402 This text was automatically generated on 8 July 2021. Creative Commons License Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Ea... 1 Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics1 Lukas Etter 1 Comics’—or, more broadly, graphic narratives’—relationship with jazz has been long- standing and complex. Artists and critics frequently use musical metaphors, particularly those related to improvisation, in their analyses of specific comics pages. As early as 1924, Gilbert Seldes drew a connection between jazz and comics in his assessment of what he termed the modern “lively arts,” and Art Spiegelman and Philipp Johnston recently teamed up to revisit this connection in their comics-and-jazz projection performance titled Wordless! (2014; see also Bremgartner). Historical jazz scenes, such as that of Berlin nightlife in the 1930s or New York in the 1950s form an important thematic pool for contemporary graphic narratives (e.g., Lutes, Parisi; cf.
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