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Comics enter the Collège de France

Comics enter the Collège de France

DETAILED PROGRAM OF THE DEPARTMENT OF ARTISTIC CREATION 2022-2023.

Tuesday, November 8 – 10 am.

Flow: Space, time, storytelling

One of the fundamental challenges of comics is to connect the images that make it up. Or, if you prefer, transform neighborhoods into continuities: from one box to another, from one strip to another and from one page to another. According to Art Spiegelman’s formula – “Comics are time turned into space” – it is about turning time into space, about spatial time. From Caran d’Ache to Mariette Ren, via Robert Crumb, Martin Vaughn-James, Richard McGuire, Patrice Killoffer and Marc-Antoine Mathieu, authors have never stopped playing with these possibilities and these paradoxes.

Seminar : The Yellow Sign by Edgar P. Jacobs (Benoît Mouchart)

Tuesday, November 15 – 10 am.

Flow: From one box to another

The minimal unit of the comic, the box is an image in disequilibrium, torn between the one that precedes it and the one that follows it, but no less between its desire for independence and its involvement in the story. Unlike a photographic record or a cinematographic still, the box is synthetic: the action shown cannot happen in the blink of an eye. The picture offers both the beginning of the movement and its continuation. Or contains several lines of dialogue. The secret of the comic box is that it leads to the next image, while having its own temporal depth. .

Seminar : QRN sur Bretzelburg de Franquin et Greg (by François Schuiten)

Tuesday, November 22 – 10 am.

Course: Using the site

The minimal unit of the comic, the box is an image in disequilibrium, torn between the one that precedes it and the one that follows it, but no less between its desire for independence and its involvement in the story. Unlike a photographic record or a cinematographic still, the box is synthetic: the action shown cannot happen in the blink of an eye. The picture offers both the beginning of the movement and its continuation. Or contains several lines of dialogue. The secret of the comic box is that it leads to the next image, while having its own temporal depth. .

Seminar : Osamu Tezuka’s Phoenix (Tristan Garcia)

Tuesday, November 29 – 10 am.

Course: Age of Heroes

The heroes of classic comics live in an almost peaceful time. Asterix and Obelix continue to resist Caesar’s troops. Lucky Luke remains a poor lonely cowboy. The Peanuts gang never gets old. Tintin and Captain Haddock remember their previous adventures, but they don’t age. With Blueberry, Corto Maltese, and most modern comics, the characters leave the world of the eternal present to become part of history. They leave the myth to enter the romance. This new relationship to time is at the heart of the aptly named graphic novels, and especially this seminal work, Maus d’Art Spiegelman.

Seminar : Frustrated, Claire Bretécher (Sylvain Lesage)

Tuesday, December 6 – 10 am.

Course: Writing comics

“Gags are born from the accident of the pencil,” Hergé declared one day. And Baudoin said it in other words: “The black lines that my brush draws on the white paper send me messages that I have to answer, questions that I did not foresee, unexpected answers.” Such is the irreplaceable happiness of the complete author: from Winsor McCay to Catherine Meurissa, he invents a story on the same page that immediately takes the form of a comic. In the collaboration of screenwriters and illustrators, although it has produced many masterpieces, there is something less immediate. But a number of procedures can overcome this difficulty.

Seminar : The Rigoles of Brecht Evens (Aurélia Aurita)

Tuesday, December 13 – 10 am.

Course: Drawing Powers

Comics helped maintain the tradition of drawing at a time when most artists were losing interest in it. But completely spontaneous drawing seemed almost forbidden to him for a long time due to the limitations imposed by reproduction techniques. This is one of the sources of the “clean line” style, which we find from Benjamin Rabier to Chris Ware, through Hergé and Joost Swarte. However, far from being dedicated to just one style, comics can go in very different directions, borrowing from realism and caricature, from minimalism and engraving. From Alex Raymond to André Franquin, from Albert Breccia to Julie Doucet, she never stopped revealing her amazing plasticity.

Seminar : Major Fatal de Moebius (pair Thierry Groensteen)

Tuesday, January 10 – 10 am

Course: Literally

If there are many partially or completely hidden stories, most comic book authors consider the writing as a fundamental fact, inseparable from the graphic work of the box and board. Often the text is counted by its size, shape, position on the image, as well as the content itself. The letters inflate, deflate or start shaking. They overflow the bubbles and merge with the drawing. An author like Will Eisner was a virtuoso of letter variations, from 1940. The comic never lacked either sound or movement. She found more ways to suggest them. Uderzo and Gotlib, Craig Thompson, Emil Ferris and most manga authors have made these intermediate signs between writing and drawing an essential part of their style.

Seminar : Breakdowns d’Art Spiegelman (Pierre Lévy-Soussan)

Tuesday, January 17 – 10 am.

Course: From Benday to Direct Color

At the turn of the 19th and 20th centuries, thanks to the benday technique, American newspapers received large-format items in brilliant colors every Sunday. With Lyonel Feininger, George Herriman and Frank King, the color is free and poetic, free from any concern for realism. After resisting color for a long time, Hergé brings a completely different pastel range: color fits wisely into the space allotted to it. Today, while many designers resort to colorists, direct color comes to the fore with Lorenzo Mattotti, Nicolas de Crécy, Dominique Goblet and many other artists. As for the original plates, they are recognized here as their own works.

Seminar : Alison Bechdel’s Fun Home (by Elsa Caboche)

Wednesday, June 7 – 10 am.

Colloquium: New paths in comics

The project is to establish an inventory of comics in the French-speaking world, from the most diverse angles. We will of course be interested in the aesthetic dimension, by evoking comic poetry, the ever-increasing place of non-fiction, interest in digital technology. But we will also talk about the state of teaching and research, the improvement of heritage, market trends, the fragility of authors and authors…

Find the agenda of the Collège de France to go

#Comics #enter #Collège #France

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