FBDM 2014 Auteurs Présents
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English-Language Graphic Narratives in Canada
Drawing on the Margins of History: English-Language Graphic Narratives in Canada by Kevin Ziegler A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2013 © Kevin Ziegler 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re- evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). -
Bibliographie Du Corpus Théorique Sur La Bande Dessinée Québécoise Jean-Michel Berthiaume
Document generated on 09/27/2021 11:22 p.m. Voix et Images BIBLIOGRAPHIE DU CORPUS THÉORIQUE SUR LA BANDE DESSINÉE QUÉBÉCOISE JEAN-MICHEL BERTHIAUME La bande dessinée québécoise Volume 43, Number 2 (128), Winter 2018 URI: https://id.erudit.org/iderudit/1045068ar DOI: https://doi.org/10.7202/1045068ar See table of contents Publisher(s) Université du Québec à Montréal ISSN 0318-9201 (print) 1705-933X (digital) Explore this journal Cite this document BERTHIAUME, J.-M. (2018). BIBLIOGRAPHIE DU CORPUS THÉORIQUE SUR LA BANDE DESSINÉE QUÉBÉCOISE. Voix et Images, 43(2), 113–124. https://doi.org/10.7202/1045068ar Tous droits réservés © Université du Québec à Montréal, 2018 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ BIBLIOGRAPHIE DU CORPUS THÉORIQUE SUR LA BANDE DESSINÉE QUÉBÉCOISE 1 + + + JEAN-MICHEL BERTHIAUME Université du Québec à Montréal I. MONOGRAPHIES + AIRD, Robert et Mira FALARDEAU, Histoire de la caricature au Québec, Montréal, VLB éditeur/ Chaire Hector-Fabre d’histoire du Québec, coll. « Études québécoises », 2009, 248 p. + ALLARD, Yvon, Les bandes dessinées pour adultes, Montréal, Librairie Demarc, 1983, 6 p. + ARSENEAU-BUSSIÈRES, Philippe, Imagine ta B.D., Lévis, Éditions À reproduire, 1994, 50 f. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
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Truth, Justice, and the Canadian Way: the War-Time Comics of Bell Features Publications Ivan Kocmarek Hamilton, Ontario
Truth, Justice, and the Canadian Way: The War-Time Comics of Bell Features Publications Ivan Kocmarek Hamilton, Ontario 148 What might be called the “First Age of Canadian Comics”1 began on a consum- mately Canadian political and historical foundation. Canada had entered the Second World War on September 10, 1939, nine days after Hitler invaded the Sudetenland and a week after England declared war on Germany. Just over a year after this, on December 6, 1940, William Lyon MacKenzie King led parliament in declaring the War Exchange Conservation Act (WECA) as a protectionist measure to bolster the Canadian dollar and the war economy in general. Among the paper products now labeled as restricted imports were pulp magazines and comic books.2 Those precious, four-colour, ten-cent treasure chests of American culture that had widened the eyes of youngsters from Prince Edward to Vancouver Islands immedi- ately disappeared from the corner newsstands. Within three months—indicia dates give March 1941, but these books were probably on the stands by mid-January— Anglo-American Publications in Toronto and Maple Leaf Publications in Vancouver opportunistically filled this vacuum by putting out the first issues of Robin Hood Comics and Better Comics, respectively. Of these two, the latter is widely considered by collectors to be the first true Canadian comic book becauseRobin Hood Comics Vol. 1 No. 1 seems to have been a tabloid-sized collection of reprints of daily strips from the Toronto Telegram written by Ted McCall and drawn by Charles Snelgrove. Still in Toronto, Adrian Dingle and the Kulbach twins combined forces to release the first issue of Triumph-Adventure Comics six months later (August 1941), and then publisher Cyril Bell and his artist employee Edmund T. -
La BD Au Québec Une Route Semée D’Embûches Michel Viau
Document généré le 27 sept. 2021 10:07 Québec français La BD au Québec Une route semée d’embûches Michel Viau La bande dessinée à l’école Numéro 149, printemps 2008 URI : https://id.erudit.org/iderudit/1727ac Aller au sommaire du numéro Éditeur(s) Les Publications Québec français ISSN 0316-2052 (imprimé) 1923-5119 (numérique) Découvrir la revue Citer cet article Viau, M. (2008). La BD au Québec : une route semée d’embûches. Québec français, (149), 32–34. Tous droits réservés © Les Publications Québec français, 2008 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ La banc MICHEL VIAU* Louis Cyr, Yves Poissant, 1978. a bande dessinée québécoise, que l'on désigne souvent L'Association catholique des Voyageurs de commerce de Trois- au moyen du sigle BDQ, a une très longue tradition der Rivières commandite, à partir de 1935, des feuilletons adaptés de Lrière elle et son histoire est étroitement liée à celle du Qué romans du terroir qui sont publiés dans plusieurs journaux. Ces bec. C'est toute l'histoire du Québec moderne qui défile à travers histoires véhiculent l'idéologie dominante : retour à la terre, sou la BDQ : de l'urbanisation à la mondialisation, en passant par la mission au clergé, pureté de la race.. -
Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-21-2013 12:00 AM Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance Caitlin Foster The University of Western Ontario Supervisor Dr. Joseph Wlodarz The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Caitlin Foster 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Advertising and Promotion Management Commons, and the Film and Media Studies Commons Recommended Citation Foster, Caitlin, "Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance" (2013). Electronic Thesis and Dissertation Repository. 1494. https://ir.lib.uwo.ca/etd/1494 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CLASH OF THE INDUSTRY TITANS: MARVEL, DC AND THE BATTLE FOR MARKET DOMINANCE (Thesis format: Monograph) By Caitlin Foster Graduate Program in Film Studies A thesis submitted in partial fulfillment Of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Caitlin Foster 2013 Abstract This thesis examines the corporate structures, marketing strategies and economic shifts that have influenced the recent resurgence of the comic book superhero in popular Hollywood cinema. Using their original texts and adaptation films, this study will chronologically examine how each company’s brand identities and corporate structures have reacted to and been shaped by the major cultural and industrial shifts of the past century in its attempt to account for the varying success of these companies throughout their histories. -
MUNDANE INTIMACIES and EVERYDAY VIOLENCE in CONTEMPORARY CANADIAN COMICS by Kaarina Louise Mikalson Submitted in Partial Fulfilm
MUNDANE INTIMACIES AND EVERYDAY VIOLENCE IN CONTEMPORARY CANADIAN COMICS by Kaarina Louise Mikalson Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at Dalhousie University Halifax, Nova Scotia April 2020 © Copyright by Kaarina Louise Mikalson, 2020 Table of Contents List of Figures ..................................................................................................................... v Abstract ............................................................................................................................. vii Acknowledgements .......................................................................................................... viii Chapter 1: Introduction ....................................................................................................... 1 Comics in Canada: A Brief History ................................................................................. 7 For Better or For Worse................................................................................................. 17 The Mundane and the Everyday .................................................................................... 24 Chapter outlines ............................................................................................................. 30 Chapter 2: .......................................................................................................................... 37 Mundane Intimacy and Slow Violence: ........................................................................... -
Julie Doucet, Between Order and Disorder
M. Falardeau Eje 1: Experimentación, rupturas y tensionesJulie Doucet,entre convención between order e innovaciónand disorder Fecha de recepción: diciembre 2017 Julie Doucet, between Fecha de aceptación: octubre 2018 Versión final: julio 2019 order and disorder Mira Falardeau * Abstract: This article intends to present and analyse the links between two types of dis- course in the creations of the Montrealer artist, Julie Doucet. The comix chosen is Dirty Plotte, number 5, published in 1992 by Drawn & Quarterly (Montreal) and republished in French in 2013 as Fantastic Plotte by L’Oie de Cravan (Montreal). We first present the artist Doucet, secondly, we examine the story of What an Intense City, and thirdly, the synopsis of Missing. Subsequently, we analyse the two types of discourse, comparing the under- ground language used in the first work to the conventional one used in Missing, observing the image as well as the narration. Our hypothesis is that the creation of Missing, one of the most brilliant works of Doucet, was possible because of her ability to understand the two different languages and to go from one to the other. The analysis considers iconic ele- ments and rhetorical figures. The detailed analysis of diverse elements of background and characters will reveal a strong contrast between both works. The deciphering of rhetorical figures, narrative as well as visual, will demonstrate how the practice of an alternative and experimental art succeeded in enriching the artist and gave her tools to communicate with all types of public in respect of conventional codes. Between three cultures, Doucet, a francophone who writes in English with “the accent”, plays on several levels and her dis- course creates links between American and Canadian underground, the art of Montreal metropolis and the cheeky humour of French alternative press. -
Traduction Et Bande Dessinée À Montréal Au Xxie Siècle Translation
Traduction et bande dessinée à Montréal au XXIe siècle 1 Traduction et bande dessinée à Montréal au XXIe siècle Translation and Comics in Montreal in the 20th Century Anna Giaufret¹ Submetido em 8 e aprovado em 29 de novembro de 2020. Résumé : La bande dessinée est un médium qui a connu un essor à Montréal depuis la fin des années 1990. Cet article examine d’abord la production récente de BD à Montréal et la traduction d’albums du français en anglais, afin d’en comprendre les raisons et les perspectives des maisons d’édition (francophones et anglophones). Nous y analysons aussi un certain nombre de cas d’études (Mile End, La Collectionneuse, Yves, le roi de la cruise, Vil et misérable, Les Cousines vampires), afin de comprendre qui traduit ces textes, d’analyser les cas de traduction et d’autotraduction, de vérifier quel traitement est réservé aux spécificités québécoises de la langue et quelles stra- tégies les traducteurs utilisent pour la traduction. En effet, une des particularités de la traduction de la bande dessinée est celle d’être contrainte par la présence de l’image. En conclusion, nous posons la question de l’avenir et de la survie de la bande dessinée francophone à Montréal. Mots-clés : Bande dessinée. Montréal. Traduction. Francophones. Anglophones. Editeurs. Abstract: Comics is a medium which has greatly developed in Montreal since the end of the 1990. This article examines first of all the recent comics production in Montreal and the translation from French into English, in order to understand its reasons and the francophone and anglophone publishers’ perspectives. -
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Jumping on the “Comics for Kids” Bandwagon —Naomi Hamer Brit, Fanny. Jane, the Fox and Me. Illus. Isabelle 978-0-14-317779-1. Print. Arsenault. Trans. Christelle Morelli and Susan Lang, John. Lone Hawk: The Story of Air Ace Billy Ouriou. Toronto: Groundwood, 2012. 101 pp. Bishop; A Graphic Novel. Toronto: Penguin, 2011. $19.95 hc. ISBN 978-1-55498-360-5. Print. 97 pp. $15.00 pb. ISBN 978-0-14-317466-0. Davila, Claudia. Luz Makes a Splash. Toronto: Kids, Print. 2012. 96 pp. $16.95 hc. ISBN 978-1-55453-762-4. Robertson, David Alexander. 7 Generations: A Plains Print. Cree Saga. Illus. Scott B. Henderson. Winnipeg: Davila, Claudia. Luz Sees the Light. Toronto: Kids, HighWater, 2012. 136 pp. $32.00 hc. ISBN 978-1- 2011. 95 pp. $16.95 hc. ISBN 978-1-55453-581-1. 55379-355-7. Print. Print. Robertson, David Alexander. 7 Generations: The Pact. Dawson, Willow. Hyena in Petticoats: The Story Illus. Scott B. Henderson. Winnipeg: HighWater, of Suffragette Nellie McClung; A Graphic Novel. 2011. 30 pp. $12.95 pb. ISBN 978-1-55379-230-7. Toronto: Penguin, 2011. 95 pp. $15.00 pb. ISBN Print. On 1 October 2011, The Beguiling, Toronto’s landmark kids!” (Little Island Comics). The headline of a Globe comic book store, opened Little Island Comics, a sister and Mail article published during the opening week bookstore that, in focusing exclusively on material of the store announced that, “At Little Island Comics, geared to young readers under the age of twelve, They’re Giving Superheroes Back to the Kids” (Dixon).