New PDF release: Asterix Le Gaulois French
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9 I am aware that this definition would have to be altered to account for comics outside the Western context—but I also know that it is difficult to postulate the perfect invariance of a medium of expression in distinct cultural spaces. If we return to the most commonly accepted “inventor” of comics, what do we find? With Rodolphe Töpffer a new means of telling stories with pictures emerged: strongly influenced by the engravings by Hogarth that his father brought back from a trip to England, Töpffer designed stories in which several consecutive images were juxtaposed, each of them over a caption.
The main originators of those publications were German immigrants who transposed the formulas that had proved successful in the satirical weekly Fliegende Blätter and the “Bilderbogen” broadsheets (German counterparts to the French “Images d’Épinal”) in their native country from the middle of the nineteenth century on. Starting in the 1880s comics moved from humor magazines to the daily press via editorial cartoons. From the beginning of the following decade, the development of linotype color printing allowed the progressive appearance in Sunday newspapers of humorous supplements printed in four colors, soon referred to as funnies or comics.
I. Beaty, Bart. II. Nguyen, Nick. III. Title. 5’973—dc22 2009025381 British Library Cataloging-in-Publication Data available Contents Translators’ Preface Introduction Part One: Seventy Years’ Worth of Images Chapter 1: From Comics to Comic Books (1842–1936) Chapter 2: The Beginnings of an Industry: Comics Magazines (1936–1940) Chapter 3: Comic Books at War (1940–1945) Chapter 4: Ever More—The Apogee and the Fall (1945–1954) Chapter 5: Decline and Rebirth (1955–1962) Chapter 6: The Age of Innovation (1963–1969) Chapter 7: Research and Development by Trial and Error (1969–1979) Chapter 8: The Recovery of the 1980s (1980–1993) Chapter 9: The End of a Century and the Beginning of a New Century (1993– ) Part Two: Producers and Consumers Chapter 10: Production Chapter 11: The Business of Comic Books Chapter 12: The Creators Chapter 13: The Readers Part Three: A Difficult Consecration Chapter 14: Calls for Censorship Chapter 15: Internal Consecration Chapter 16: External Consecration Chapter 17: Conclusion Appendix: Self-Regulating Codes of the Comic Book Industry Notes Bibliographic Essay Acknowledgments Index Translators’ Preface One of the difficulties involved in translating Jean-Paul Gabilliet’s Of Comics and Men is that, as a history, it is so very current that even small changes in the American comic book field frequently called out for new analysis.