DOCSLIB.ORG

Bing Norwegian Research Center for Computers and Law Master Lecture 30 August 2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bing Norwegian Research Center for Computers and Law Master Lecture 30 August 2010 History and Purpose of Intellectual Property Rights Jon Bing Norwegian Research Center for Computers and Law Master lecture 30 August 2010 NRCCL (University of Oslo, Faculty of Law) Copyright and neighbouring rights NRCCL (University of Oslo, Faculty of Law) Piazza Rotunda at the Pantheon NRCCL (University of Oslo, Faculty of Law) Emerging Copyright Ludivico Ariosto Orlando Furioso (1515) – plakett på Albergo del Sol, Piazza Rotunda, Roma NRCCL (University of Oslo, Faculty of Law) Venice NRCCL (University of Oslo, Faculty of Law) Copyright and human rights The French Parliament decided in a decicion of 15 March 1586 that the French poet and researcher Marc-Antoine Muret’s writings should be controlled by his heirs. NRCCL (University of Oslo, Faculty of Law) Stationers' Company • Worshipful Company of Stationers and Newspaper Makers, London Livery Company • Founded1403 • Royal Charter1557 • Monopoly over the publishing industry and was officially responsible for setting and enforcing copyright regulations NRCCL (University of Oslo, Faculty of Law) Statute of Queen Anne 1709 (or 1710) An Act for the Encouragement of Learning, by vesting the Copies of Printed Books in the Authors or purchasers of such Copies, during the Times therein mentioned NRCCL (University of Oslo, Faculty of Law) Friedrich Gottlob Keller - 1816 to 1895 NRCCL (University of Oslo, Faculty of Law) Steam engines and transport NRCCL (University of Oslo, Faculty of Law) Rotary press 1874 (Chicago) NRCCL (University of Oslo, Faculty of Law) Crimerian War 1853 -1856 Florence Nightingale, “the lady with the lamp”, in a temporary photograph NRCCL (University of Oslo, Faculty of Law) Joseph Pulitzer The New York World NRCCL (University of Oslo, Faculty of Law) William Randolph Hearst New York Journal NRCCL (University of Oslo, Faculty of Law) RF Outcault “The Yellow Kid” Richard Felton Outcault (1863-1928) Pulitzer’s strike NRCCL (University of Oslo, Faculty of Law) Max and Moritz 1865 Wilhelm Busch (1832 – 1908) NRCCL (University of Oslo, Faculty of Law) Rudolph Dirks Hearst’s strike NRCCL (University of Oslo, Faculty of Law) Harold H Knerr NRCCL (University of Oslo, Faculty of Law) Association Littéraire et Aristique International (ALAI) Bern Convention1886 • Minimum standards • Principle of national treatment • Limits for national exceptions • WTO Victor Hugo NRCCL (University of Oslo, Faculty of Law) Copyright notice © The copyright notice has no direct legal effect Copyright © [Year first publishing][Owner of copyright] Strict formalism – (C), but not (c) or [c] Formalism and registration US law NRCCL (University of Oslo, Faculty of Law) World Intellectual Property Organisation (WIPO) NRCCL (University of Oslo, Faculty of Law) Michael Keplinger Deputy Director General of WIPO, 1970 ”The Case of the Invisble Copies” NRCCL (University of Oslo, Faculty of Law) White-Smith Music Publishing Company v Apollo Company (109 US 1[1907]) Apollo pianola NRCCL (University of Oslo, Faculty of Law) Musical work copyrighted by White-Smith Music Publishing http://ccnmtl.columbia.edu/projects/ NRCCL (University of Oslo, Faculty of Law) What is a copy? Various definitions have been given by the experts called in the case. The one which most commends itself to our judgment is perhaps as clear as can be made, and defines a copy of a musical composition to be “a written or printed record of it in intelligible notation.” It may be true that in a broad sense a mechanical instrument which reproduces a tune copies it; but this is a strained and artificial meaning. NRCCL (University of Oslo, Faculty of Law) Judge Holmes, concurring A musical composition is a rational collocation of sounds apart from concepts, reduced to a tangible expression from which the collocation can be reproduced either with or without continuous human intervention. On principle anything that mechanically reproduces that collocation of sounds ought to be held a copy, or if the statute is too narrow ought to be made so by a further act, except so far as some extraneous consideration of policy may oppose. NRCCL (University of Oslo, Faculty of Law) Neighbouring rights (related rights) • Performing artist rights • Phonogram producer rights • Movie producer rights • Broadcaster rights (signal rights) • Protection of news telegrams • Database protection NRCCL (University of Oslo, Faculty of Law).
Load more

Recommended publications
  • Hergé and Tintin
    Hergé and Tintin PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 20 Jan 2012 15:32:26 UTC Contents Articles Hergé 1 Hergé 1 The Adventures of Tintin 11 The Adventures of Tintin 11 Tintin in the Land of the Soviets 30 Tintin in the Congo 37 Tintin in America 44 Cigars of the Pharaoh 47 The Blue Lotus 53 The Broken Ear 58 The Black Island 63 King Ottokar's Sceptre 68 The Crab with the Golden Claws 73 The Shooting Star 76 The Secret of the Unicorn 80 Red Rackham's Treasure 85 The Seven Crystal Balls 90 Prisoners of the Sun 94 Land of Black Gold 97 Destination Moon 102 Explorers on the Moon 105 The Calculus Affair 110 The Red Sea Sharks 114 Tintin in Tibet 118 The Castafiore Emerald 124 Flight 714 126 Tintin and the Picaros 129 Tintin and Alph-Art 132 Publications of Tintin 137 Le Petit Vingtième 137 Le Soir 140 Tintin magazine 141 Casterman 146 Methuen Publishing 147 Tintin characters 150 List of characters 150 Captain Haddock 170 Professor Calculus 173 Thomson and Thompson 177 Rastapopoulos 180 Bianca Castafiore 182 Chang Chong-Chen 184 Nestor 187 Locations in Tintin 188 Settings in The Adventures of Tintin 188 Borduria 192 Bordurian 194 Marlinspike Hall 196 San Theodoros 198 Syldavia 202 Syldavian 207 Tintin in other media 212 Tintin books, films, and media 212 Tintin on postage stamps 216 Tintin coins 217 Books featuring Tintin 218 Tintin's Travel Diaries 218 Tintin television series 219 Hergé's Adventures of Tintin 219 The Adventures of Tintin 222 Tintin films
    [Show full text]
  • The Yellow Kid and the Birth of the American Comics
    Syracuse University SURFACE The Courier Libraries Spring 1993 "Say! Dis Is Grate Stuff": The Yellow Kid and the Birth of the American Comics Richard D. Olson University of New Orleans Follow this and additional works at: https://surface.syr.edu/libassoc Part of the Arts and Humanities Commons Recommended Citation Olson, Richard D., ""Say! Dis Is Grate Stuff": The Yellow Kid and the Birth of the American Comics" (1993). The Courier. 305. https://surface.syr.edu/libassoc/305 This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIB RA RY ASS 0 C I ATE S CO.URIER VOLUME XXVIII, NUMBER 1, SPRING 1993 SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOL UME XXVIII NUMBER ONE SPRING 1993 An Interview with Barney Rosset, Former Chairman and President ofGrove Press By Mary Beth Hinton, Editor 3 Syracuse University Library Associates Courier "Say! Dis is Grate Stuff": The Yellow Kid and the Birth ofthe American Comics By Richard D. Olson, Research Professor ofPsychology, 19 University ofNew Orleans National Service: A Forty-Three-Year Crusade By DonaldJ. Eberly, Executive Director, 35 National Service Secretariat, Washington, D.C. Hey, Why Don't We Start an External High School Diploma Program? By Patricia King, External Diploma Program Assessor, 55 Onondaga-Cortland-Madison BOCES; and Mary Beth Hinton, Editor Syracuse University Library Associates Courier Portrait ofa City: Syracuse, the Old Home Town ByJohn A. Williams, Novelist andJournalist 65 Introduced by Robert Phillips, Professor ofEnglish and Director ofthe Creative Writing Program, University ofHouston News ofthe Syracuse University Library and the Library Associates 89 This issue is dedicated with gratitude and affection to Gwen G.
    [Show full text]
  • An Exploration of Comics and Architecture in Post-War Germany and the United States
    An Exploration of Comics and Architecture in Post-War Germany and the United States A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Ryan G. O’Neill IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Rembert Hueser, Adviser October 2016 © Ryan Gene O’Neill 2016 Table of Contents List of Figures……………………………………………………………………………………...……….i Prologue……………………………………………………………………………………….....…1 Introduction………………………………………………………………………………………...8 Chapter 1: The Comic Laboratory…………………………………………………...…………………………………….31 Chapter 2: Comics and Visible Time…………………………………………………………………………...…………………..52 Chapter 3: Comic Cities and Comic Empires………………………………...……………………………...……..…………………….80 Chapter 4: In the Shadow of No Archive…………………………………………………………………………..…….…………114 Epilogue: The Painting that Ate Paris………………………………………………………………………………...…………….139 Works Cited…..……………………………………………………………………………..……152 i Figures Prologue Figure 1: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 2: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 3: Image of Vitra Feuerwehrhaus Uncredited. https://www.vitra.com/de-de/campus/architecture/architecture-fire-station Figure 4: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Introduction Figure 1: Goscinny, René (w), Alberto Uderzo (i). Die Trabantenstadt. trans. Gudrun Penndorf. Stuttgart: Ehapa Verlag GmbH, 1974. Pp.28-29. Print. Figure 2: Forum at Pompeii, Vitruvius Vitrubius. The Ten Books on Architecture. trans. Morris Hicky Morgan, Ph.D., LL.D. Illustrations under the direction of Herbert Langford Warren, A.M. pp. 132. Print. Figure 3: Töpffer, Rodolphe.
    [Show full text]
  • GOLDENROD BEER Katzenjammer Kids “COMICAPS”
    2 Winter 2004 Bottles and Extras GOLDENROD BEER Fig. 2 Katzenjammer Kids “COMICAPS” by Cecil Munsey Fig. 3 Copyright © 2003 Bottle caps are among America’s At the end of the day I showed the caps favorite collectibles. Ah yes, just go to to my wife. Of course, she asked how www.ebay.com on the Internet and much they had cost me. I was going to indicate you want to see bottle caps for lie about the price but decided quickly to Kids Comicaps are one of the rarest sets sale. Today, as an example, there are 852 tell her the truth. She winced, as I would [of bottle caps] in the world. They were lots (groupings), of bottle caps for sale. have had the circumstances been reversed, produced for Goldenrod’s Beer and Ale Since they are crown caps they are mostly but said nothing. She’s good that way. I products during the years 1935 and 1936. from soft drink and beer bottles. Go have learned to treat her indulgences at There are a total of 8 crowns in the set: figure… Neiman Marcus with the same courtesy. Hans, Fritz, Mamma, the Captain, As most bottle collectors do know, the I think that has taught each of us the self- Boggles, the Prince, the Inspector, and the first Crown Cap was invented by William control necessary to carry on a marriage Director” – (Figure 1). Painter of Baltimore, Maryland in 1892 between a collector and a shopper. But I and was a metal enclosure with a cork digress… The Comic Strip lining.
    [Show full text]
  • On the History and Hermeneutics of Comics
    Christian Wessely On the History and Hermeneutics of Comics ABSTRACT What is a comic? The simple answer states that a comic is a drawn story that is pic- ture- rather than text-oriented and told serially. In other words, a comic is a type of illustration. Realism is not its goal; rather a narrative is developed through reduction according to specific stylistic means. I start this article with a definition of the term “comic”, and move on to highlight the complexity of the comic and to argue that insight into this complexity is neces- sary for its correct interpretation. Only then can we recognise that the comic is not only entertaining but also, in its own way, a vehicle for content that might be system confirming and propagandistic but can also be system critical. Doing so allows us to see the potential of the comic that is embedded in its particular affinity with nonlinear interactive audiovisual media. KEYWORDS History of comics, hermeneutic of comics, illustrative language, dissident potential, propagandistic potential BIOGRAPHY Master Craftsman Diploma and Engineer for Agriculture (HBLFA Raumberg-Gumpen- stein, 1984/1991); Mag. theol. (1991, distinction); Dr. theol. (Fundamental Theology; thesis on Mythological Structures in Entertainment Industry, Frankfurt: Lang 1995, distinction). Habilitation in Fundamental Theology (2004; thesis: Gekommen, um zu dienen, Regensburg: Pustet 2005). Director of the Institute for Fundamental Theology at the Karl-Franzens-University Graz, Austria, since 2014. My principal area of expertise, Catholic fundamental theology, is not exactly known for its affinity with comics. Until the 1970s, comics were generally -ig nored by scholars; subsequently they were either vilified as an inferior genre or, worse, interpreted eisegetically.
    [Show full text]
  • Typical Girls: the Rhetoric of Womanhood in Comic Strips Susan E
    Typical girls The Rhetoric of Womanhood in Comic Strips Susan E. Kirtley TYPICAL GIRLS STUDIES IN COMICS AND CARTOONS Jared Gardner and Charles Hatfield, Series Editors TYPICAL GIRLS The Rhetoric of Womanhood in Comic Strips SUSAN E. KIRTLEY THE OHIO STATE UNIVERSITY PRESS COLUMBUS COPYRIGHT © 2021 BY THE OHIO STATE UNIVERSITY. THIS EDITION LICENSED UNDER A CREATIVE COMMONS ATTRIBUTION- NONCOMMERCIAL-NODERIVS LICENSE. THE VARIOUS CHARACTERS, LOGOS, AND OTHER TRADEMARKS APPEARING IN THIS BOOK ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS AND ARE PRESENTED HERE STRICTLY FOR SCHOLARLY ANALYSIS. NO INFRINGEMENT IS INTENDED OR SHOULD BE IMPLIED. Library of Congress Cataloging-in-Publication Data Names: Kirtley, Susan E., 1972– author. Title: Typical girls : the rhetoric of womanhood in comic strips / Susan E. Kirtley. Other titles: Studies in comics and cartoons. Description: Columbus : The Ohio State University Press, [2021] | Series: Studies in comics and cartoons | Includes bibliographical references and index. | Summary: “Drawing from the work of Lynn Johnston (For Better or For Worse), Cathy Guisewite (Cathy), Nicole Hollander (Sylvia), Lynda Barry (Ernie Pook’s Comeek), Barbara Brandon-Croft (Where I’m Coming From), Alison Bechdel (Dykes to Watch Out For), and Jan Eliot (Stone Soup), Typical Girls examines the development of womanhood and women’s rights in popular comic strips”—Provided by publisher. Identifiers: LCCN 2020052823 | ISBN 9780814214572 (cloth) | ISBN 0814214576 (cloth) | ISBN 9780814281222 (ebook) | ISBN 0814281222 (ebook) Subjects: LCSH: Comic strip characters—Women. | Women in literature. | Women’s rights in literature. | Comic books, strips, etc.—History and criticism. Classification: LCC PN6714 .K47 2021 | DDC 741.5/3522—dc23 LC record available at https://lccn.loc.gov/2020052823 COVER DESIGN BY ANGELA MOODY TEXT DESIGN BY JULIET WILLIAMS TYPE SET IN PALATINO For my favorite superhero team—Evelyn, Leone, and Tamasone Castigat ridendo mores.
    [Show full text]
  • Copyrighted Material
    1 »Alles so schön bunt hier ...« Went to college, studied art, To be an artist, make a start [...] Tried cartoons and comic books ... The Creation, »Painter Man« Kleine Geschichte des Comicstrip, 30050v.Chr.–2011n.Chr. Genre-Literatur – Western, Science-Fiction, Fantasy, Horror usw. – genießt bei der Literaturkritik meist kein sehr hohes Ansehen. Viele, die sich mit einem der literarischen Genres beschäftigen, reagieren darauf, indem sie Beutezüge in das Gebiet der sogenannten Hochli- teratur unternehmen und alles für ihr Genre vereinnahmen, das sich nur irgendwie vereinnahmen lässt, vom Gilgamesch-Epos bis hin zu Jean Paul Sartres Das Spiel ist aus. Nun steht außer Frage (um nur ei- nige wenige konkrete Beispiele anzuführen), dass man manche Werke von Cormac McCarthy im weitesten Sinne als »Western« be- zeichnen könnte, ebenso wie außer Frage steht, dass Romane wie Vladimir Nabokovs Ada oder Das Verlangen oder Salman Rushdies Grimus der Science-Fiction zuzurechnen sind – auch wenn viele Lite- raturkritiker das sicher vehement bestreiten. Im Grunde genommen spielt es natürlich nicht die geringste Rolle, welches literarische Werk man welchem Genre zuschlagen möchte und ob es tatsächlich dazu- gehört oder nicht; die Problemstellung ist eine gänzlich andere, und sie hinterlässt mitunter durchaus einen bitteren Nachgeschmack, denn diese Vereinnahmungen zeigen, dass auch viele, die sich mit li- terarischen Genres beschäftigen, selbst nicht so recht an ihr Genre glauben und denken, sie müssten es auf diese Weise achtbarer ma- chen. TatsächlichCOPYRIGHTED haben fast alle Genres großartige MATERIAL Werke hervorge- bracht, die für sich bestehen können und nicht erst dadurch an Wert gewinnen, dass man betont, sie seien im selben Genre angesiedelt, mithin also etwas »Ähnliches«, wie das berühmte X des gleicherma- ßen berühmten Y.
    [Show full text]
  • Children in Comics: Between Education and Entertainment, Conformity and Agency
    Children in Comics: Between Education and Entertainment, Conformity and Agency Oxford Handbooks Online Children in Comics: Between Education and Entertainment, Conformity and Agency Maaheen Ahmed The Oxford Handbook of Comic Book Studies Edited by Frederick Luis Aldama Subject: Literature, Literary Studies - 20th Century Onwards Online Publication Date: Mar 2019 DOI: 10.1093/oxfordhb/9780190917944.013.27 Abstract and Keywords This chapter begins by examining the tension between education and entertainment in comics from the late nineteenth and early twentieth centuries. Yellow Kid exemplifies the agentic, carnivalesque comics child who gets away with everything he does, and Buster Brown narrates the antics and slips of a naughty child who is duly punished. This also holds for Katzenjammer Kids and the children in the British magazine Beano. Children in comics are first situated in the broader media context of the nineteenth century. Changing conceptions of children and childhood and the relationship between children and laughter are also elaborated. The chapter then focuses on naughty children in comics and the degree of impunity offered to them in order to map the negotiation between education and entertainment as well as social commentary. It highlights the queer inclinations and affective power of comics children while also tracing the continuation of racist stereotypes. Keywords: children, comics, education, entertainment, Struwwelpeter, Max und Moritz, Yellow Kid, Buster Brown, Katzenjammer Kids, Beano This chapter unpacks representations
    [Show full text]
  • Exhibition Pioneers of US Comics
    Exhibition Pioneers of US Comics The story of the American comic strip is closely tied to the world of the press, and especially the magnates William Randolph Hearst and Joseph Pulitzer, who competed fiercely to increase their readership by publishing cartoons in their papers. In 1892, Hearst published humorous drawings by James Swinnerton in the daily San Francisco Examiner. Two years later, Richard Outcault created Hogan’s Alley – a comic strip about a street kid dressed in a blue nightshirt – for Pulitzer’s New York World. The character seduced the paper’s readers. The following year, his nightshirt became yellow and readers named him the Yellow Kid. The success of Hogan’s Alley boosted sales of New York World, stirring up Jealousy in William Hearst. He struck back by hiring Outcault for New York Journal in 1896. A savage legal battle followed, which ended with Pulitzer being authorised to continue to publish Hogan’s Alley but with illustrations by George Luks, and Hearst being authorised to publish the series under the name The Yellow Kid. Up until this point, Outcault had given his character a voice by writing text on his nightshirt. However, from 25 October 1896, the Yellow Kid spoke his first words in a speech bubble. Outcault returned to New York World in 1902, where he created the Buster Brown series about the tribulations of a wealthy New York kid. At this time, cartoons published in the press were not what we would consider to be full comic strips, as there was no story told over several illustrations; the cartoons were rather a series of humorous drawings occupying a full page.
    [Show full text]
  • KF 100Th 16Pages Webpdf L
    100 YEARS OF KING FEATURES SYNDICATE - PART ONE By Brian Walker I n October 1895, California newspaperman William Randolph put to work drawing single-panel cartoons for the Sunday supple- Hearst purchased the struggling New York Journal, intent on ment. On March 11, 1900, Opper introduced his first newspaper competing with Joseph Pulitzer’s New York World. The following comic feature, Happy Hooligan, which starred an irrepressible year, after installing a new high-speed multi-color press, he acquired Irish hobo with a tin can balanced on his head. the services of Pulitzer’s most popular cartoonist, Richard Outcault. Cartoonists around the country were soon imitating the success- Hearst’s American Humorist, an eight-page color comic supplement ful formula pioneered by Outcault, Dirks and Opper. The unique in the Sunday Journal, featuring Outcault’s Yellow Kid as the star combination of recurring characters, sequential panels, speech attraction, debuted on October 18, 1896. balloons and bright colors eventually came to be known as the At the peak of his popularity in 1896 and 1897, the Yellow “Sunday funnies.” Kid’s toothy grin showed up on hundreds of products, including In New York City, the competition between newspapers buttons, crackers, puzzles and fans. The Yellow Kid dramatically continued to rage and metropolitan papers in other cities soon demonstrated the selling power of a popular comic character. began publishing their own Sunday comic sections. As a result, Following Outcault’s departure from the New York Journal in 1898, the Yellow Kid and his fellow comic characters became national The Katzenjammer Kids by Rudolph Dirks became the anchor of celebrities.
    [Show full text]
  • “Vulgarizing American Children”: Navigating Respectability and Commercial Appeal in Early Newspaper Comics
    “VULGARIZING AMERICAN CHILDREN”: NAVIGATING RESPECTABILITY AND COMMERCIAL APPEAL IN EARLY NEWSPAPER COMICS by Ralph D. Suiter III A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy History Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Department Chairperson ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2016 George Mason University Fairfax, VA “Vulgarizing American Children”: Navigating Respectability and Commercial Appeal in Early Newspaper Comics A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Ralph D. Suiter III Master of Arts University of Massachusetts, Boston, 2006 Bachelor of Arts Simon’s Rock College of Bard, 1999 Director: Paula Petrik, Professor Department of History Spring Semester 2016 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION This dissertation is dedicated my parents, Ralph and Dianne Suiter, from whose example I learned to love learning, to value the life of the mind above all else, and to never give up on my goals. I love you both so much. I would also like to dedicate it to my nephew, Theo Kuruvilla, because a family’s only ever as good as its next generation. Go do cool things, little man. iii ACKNOWLEDGEMENTS There are many people to whom I owe a sincere thank you for helping me get to this point. To my wife, Greta—thank you so much for your love and support, for your encouragement, and for the occasional push when I got lazy.
    [Show full text]
  • Petit Journal "Vraoum ! Trésors De La Bande Dessinée
    than not, the drawings themselves were discarded. Were it not for the interest and enthusiasm of the individuals who have collected these original strips, sketches and covers, in France and Belgium in particular, an entire part of comic strip history would have been lost. Several museums, many in Brussels and Angoulême, specialise in the history of comic strips, and the Musée National d'Art Moderne in Paris recently acquired an original strip by Hergé. However, most strips (now a growing focus of interest for the market) remain in private hands. Vraoum! is an opportunity to bring to light treasures of comic-strip history by artists from Winsor McCay to Hergé and Philippe Druillet. Many of these original drawings have never been shown in public before. Vraoum! also sets out to present works from what are traditionally exhibition view, photo: Marc Domage two separate genres - a minor and popular art by "authors" and contemporary art by "artists" - on an equal footing. But reality is never that simple. The VRVRVRAVR AAAOOOOUUUUM!M!M!M! comic strip treasures and contemporary art exhibition's underlying premise is that comics are art produced by artists, however else they may be dubbed and regardless of any other artistic activity curated by David Rosenberg and Pierre Sterckx they may or may not pursue. For Hergé and Giraud, easel painting was a Comics make their entrance at la maison rouge with Vraoum! comic strip hobby. Today, the lines between disciplines are blurred and artists such as treasures and contemporary art . As an exhibition of original strips loaned by Pierre La Police, Fabien Verschaere and Jochen Gernet move seamlessly from private collectors and shown alongside works of contemporary art, Vraoum! comic book to art gallery.
    [Show full text]