Titlebook: Ninth Art. Bande dessinée, Books and the Gentrification of Mass Culture, 1964-1975; Sylvain Lesage Book 2023 The Editor(s) (if applicable)

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generation of sound in a flow field occurs at small spatial scales with high energy, while its propagation in the farfield has to be observed on a large spatial scale with only low energy. The challenge of different scales can be addressed by employing different numerical schemes in the individual

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,“Ninth Art”, and the Gentrification of Mass Culture,uctory chapter looks at the singular status of comics in the French cultural landscape, and at some of the signs of their artistic reappraisal. In the 1960s, fans started reappraising comics as an art form, linking the comic strip to the fine arts system, just as the latter was fracturing. Then, fro

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Barbarella: Inventing Adult Comics Through the Book,osfeld in 1964, . is key to the . narrative structuring the history of the ninth art. Whereas . plays on the ambiguities and multi-layered readings of both children and their parents, Barbarella—a sexualized space opera created by veteran comics artist Jean-Claude Forest—unquestionably targets a mal

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and the Transatlantic Construction of Ninth Art Heritage,res this reappraisal, and the ways in which comics came to be acknowledged as cultural heritage via initiatives to republish works. Comics fandom in the French-speaking world?(.) was deeply linked to nostalgia, focusing particularly on the United States, whose comic strips of the 1930s were a lost p

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Sharks, Pirates, and Ghosts. Authorship and the Challenge of Transmedia Storytelling,lished in 1973. It may seem counterintuitive to select one of the few Tintin albums not drawn by Hergé, but instead an album which reworked the content of an animated film released in cinemas. The period 1964–1975 saw Hergé enter creative decline, having no doubt peaked in . (1960) and . (1963). Ten

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Futuropolis: A Hub for Independent , and a Crucible for New Formats,d become one of the key forums for the heritage of the ninth art. It had been bought by a couple of young designers, étienne Robial and Florence Cestac, who moved into publishing. From this point of view, 1974 marked a watershed in the history of fandom: the market was maturing enough for expensive

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and the Emergence of the European Graphic Novel,sterman brought to a close the cycle opened by Losfeld in 1964—and opened a new one. Like Losfeld a decade earlier, Casterman was simply compiling a strip which had been published as episodes in the Italian and French press. Like Losfeld, Casterman was offering a new apprehension of these disparate

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