Documents found
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144.More information
Cette recherche est née de mon intérêt pour le rapprochement entre la bande dessinée et le cinéma. Alors que la majorité des films ne fait qu'emprunter des personnages et des histoires à la bande dessinée, laissant de côté les caractéristiques, les possibilités narratives du médium, je me suis demandé à quoi ressemblerait un film intéressé par les outils de la bande dessinée? À quoi ressemblerait une bande de ciné? Le premier chapitre se penche sur la bande dessinée. Qu'est-ce qu'une bande dessinée? Quelle est sa place, sa perception dans la société contemporaine? Quels sont les outils dont elle dispose pour raconter une histoire? Le deuxième chapitre parle du cinéma et de sa tendance à vouloir assimiler les autres arts ; il est question aussi de …
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145.More information
When Albéric Bourgeois began working for La Presse in 1905, he first took up the model of a captioned strip that Joseph Charlebois (1872-1935) had produced since 1904 for the newspaper, which featured the character of Père Ladébauche. Bourgeois subsequently took over the character. In addition to appearing in his illustrated satirical newspaper columns and editorial caricatures, Ladébauche is the protagonist of six little-known comic strips, produced between 1914 and 1920, which will be discussed in this article. The analysis allows us to see the stylistic and thematic changes made by the artist in these new comics compared to the two strips of 1905 and the transformations undergone by the character. Some examples from his satirical column “En Roulant ma Boule” will also be examined. We will demonstrate that the narrative strategies and codes of the comic strip are taken up and conveyed in his column and that by pointing out the narrative and sequential character of the images as well as their relationship with the text, we can include the column in a broader definition of comics (McCloud, [1993] 2007; Peeters, 2003).
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149.More information
This article analyzes Richard Suicide's Chroniques du Centre-Sud, an album that is part of a recent trend in contemporary Quebecois comics, namely the representation of a neighborhood imaginary. An examination of the cartoonist's career allows us to see how Montreal, and more specifically the Centre-Sud neighborhood, is one of the focal points of his work. A more in-depth reading of Chroniques du Centre-Sud then highlights the narrative and graphic strategies that the cartoonist used to tell the story of the Montreal neighborhood. This analysis is based on Jean-Didier Urbain's reflections on spatiality and the resulting acts of discourse, as well as on Michel de Certeau's notions of map and route. The article thus aims to identify the imaginary of the neighborhood conveyed by Richard Suicide, both spatially and in terms of affects.