![]() ![]() 2 According to Jan Baetens (2012), the graphic novel is distinguished by its production (it is the wo (.).From this ongoing rise resulted many remarkable productions, especially in Europe, such as books from Marguerite Abouet, Antonio Altarriba, Manu Larcenet, Catherine Meurisse, Marjane Satrapi or Riad Sattouf, among many others. Born in the 1960s in Japan and the United States, autobiographical comi cs is a genre which strongly increased from the end of the 20th century, whether in fanzines, traditional publishing or webcomics. This way, authors activate what Charles Wright Mills (1961) called a sociological information, allowing themselves to situate their biography in the great hi story. Indeed, there has been a growing interest in autobiographical comics, allowing the komtechT15:33:00k a Françoise LaotT22:16:00FL utho r to put his or her life at the heart of the story. Once again, the evolution of the medium reinforces this phenomenon. But they also are a source of inspiration, whether they are treated head-on ( Désœuvré by Lewis Trondheim, A drifting life by Yoshihiro Tatsumi, Cases Blanches by Olivier Martin and Sylvain Runberg.) or indirectly ( The initiates by Étienne Davodeau, Le roi des bourdons by David de Thuin, the series l'Atelier Mastodonte published in Le Journal de Spirou. These pleasures and sufferings in the work of professionals have led to social movements and the creation of collectives 1. While authors or publishers can highlight the pleasure they derive from their activity, they also point out the many difficulties in the field: economic precariousness, pressure to meet deadlines, omnipresent gender discrimination and invisibility of women's work, lack of recognition from the public or the govern ment, etc. Indeed, the production of these comic books requires a whole set of actors involved in different steps of creation and/or execution in the publishing process. However, if comics question work by picturing it, it also - and above all – do es it as a social activity. 1 These collectives can take the form of unions (such as the SNAC-BD created in 2007), associations ( (.).komtechT15:16:00k The Nib, La revue dessinée and Topo ). The popularity of the genre has grown so much that several publishers dedicated specific collections to this type of production, or even created magazines of comics journalism ( i.e. Non-fiction comics became popular when Art Spiegelman won the Pulitzer Prize in 1992, and later in the wake of the success of Joe Sacco's books. This genre, also called " comics journalism " or " bande dessinée du r é el ", aims to report various facts in order to make a testimony about any kind of experiences (Lesage, 2017). This phenomenon is accentuated by the emergence of a specific genre: komtechT15:15:00k non-fiction comic s. Moreover, it also leads its readers to question the work in many ways.įirst, comics are used to propose a visual representation of work : today, numerous publications describe various social realities, including many professional practices (Géhin, 2018-2019). Laot and Pierre NocérinoĬomics is a cultural asset that is particularly appreciated all around the world. In 2016, Feroumont made a comic book starring Dupuis' classic characters 'Spirou & Fantasio', in which Fantasio is getting married.Issue coordinated by Jean-Paul Géhin, Françoise F. In 2013, he releaed 'Giselle & Béatrice' in Dupuis' Aire Libre collection, an erotic tale tinged with humor and social satire. ![]() The same publisher launched the first book of 'Le Royaume', Feroumont's solo children's series about a peaceful kingdom, in 2009. Two books were published by Dupuis in 20. Feroumont and Vehlmann came up with their first series, 'Wondertown', in 2000. His film 'BZZ' was featured on the Cannes Film Festival of 2000, and Feroumont subsequently participated in the creation of Sylvain Chomet's animated film 'Les triplettes de Belleville' (2003).įrom 1997, he has also drawn short comic stories for the magazine Spirou, mostly from scenarios by Fabien Vehlmann. From 1992, he has worked on a variety of animation projects, such as 'Les Gens' (1992), 'Chapeaux' (1992), 'Madame O'Hara et Chabada Bada' (1994) and 'Un Ange Passe' (1995). He subsequently enrolled at the La Cambre School of Animation in Brussels. His graduation project was a 2D short film called 'This Strange Zwan Saucisse Suicide'. Born in Aye, a tiny town near Marche-en-Famenne, Benoît Feroumont studied comic art and illustration at the École Supérieure des Arts Saint-Luc in Liège.
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