The Methods of Creating Heroes in Bande Dessinées (By Emphasis on Bande Dessinées of France and Belgium)

Document Type : Research Paper

Authors

1 Professor of Higher Art Studies, Faculty of Visual Arts, Fine Arts Campus, University of Tehran, Tehran, Iran

2 Master of Illustration, Fine Arts Campus, University of Tehran, Tehran, Iran (Corresponding Author).

Abstract

 
Bande dessinée is the name of kind of comic strips which are produced in French language countries like France, Belgium and Switzerland. One of the most important duties of this kind of art is to create heroes and superheroes. In fact, there are different types of methods for producing heroes being used in various countries all over the world like the United States of America, Japan, France, Belgium, etc. The main question of this research is that: What methods do France and Belgium, as the main producers of bande dessinées in the whole world, use to create their own superheroes? And also we ask about the advantages and disadvantages of these methods which the mentioned countries have experienced during the history of bande dessinée production. The goal of this research is to reach to the reasons of success and failures that these countries had in their process of producing bande dessinée and creation of superheroes. The necessity to start this research is to make a good use of others’ experiences of this global and successful art and industry in order to utilize these facts in our own local comic strips and national superheroes. In fact, we have not payed attention to comic strip as a kind art and industry as much as the world has payed attention to. One of the reasons that America or France or other countries had been successful in giving a birth to many superheroes of their own during the past century has been using efficiently of comic strip. There have been too many years that we are noticing that our children need an Iranian hero with their national culture but although in all these years we knew what we need, we have not gone through the right way. As a result, we have tried to fulfill this research and reach to an appropriate conclusion by using various theories about the methods of creating heroes and also by studying the famous successful superheroes of French and Belgian comic strips. We chose French and Belgian ones because their superheroes are not really Super. They live like ordinary people in the society. They are not much more than normal people in any ways; neither in their physical manner nor in their appearance, social life, cultural aspects, etc. Therefore, a strong relationship would take place between audiences and these kinds of superheroes. This relationship could give fans an opportunity to be able to trust their heroes and rely on them. The truth is that whenever they can rely on their heroes, they will choose them as a role model in their lives. Also another reason that we picked French and Belgian superheroes not the American ones, is that French language comic strips have been more popular among different generations in Iran. People have read Tintin bande dessinées or Asterix during recent years. The American heroes are popular, too. But the most of the people are familiar with the cinematic version of them and not the comic ones and in order that we are going to find out about the comic methods of creating superheroes and not the cinematic methods, we are not going to mention the American heroes in this research. As a matter of fact, that is the exact reason that we are searching for it; to find a way in creating superheroes to make them trustworthy. The fact is that the main and the most important audiences of these art formats are children and adolescents. The superheroes’ responsibility is to make a belief in them called trust. They must trust on their hero. That is the duty of a good hero. Whenever he or she could do this job, we can call him or her a successful superhero; someone whom people can imitate from, someone whom people can ask for their solutions in their common problems, someone who can relief them in difficult situations. That is how a real superhero needs to be; someone who trustable.
 

Keywords

References

احمدی، بابک(1374). حقیقت و زیبایی: درس­های فلسفه هنر، تهران: مرکز.
اشرف­ابیانه، شهرام(1383). دل­بسته­ مشهورترین خبرنگار دنیا(درباره­ قصه­های تن­تن و میلو)، فارابی، شماره 53، 543- 556.
باختین، میخائیل(1382). روش­شناسی برای پژوهش درباره رمان، ترجمه شهناز صاعلی، هنر دینی، شماره 17 و 18، 215- 224.
حسین‌آبادی، زهرا و فنائی، مهدی(1398). بررسی چگونگی ترویج پاگانیسم در فیلم­های ابرقهرمانی به‌وسیله استریوتایپ­سازی از رنگ­ها(طی سال­های 1989 تا 2012 با تاکید بر سری فیلم­های بتمن)، جلوه هنر، شماره 1، 55-62.
رزاقی، سعید(1386الف). راز ماندگاری تن­تن، کیهان کاریکاتور، شماره 185 و 186، 62-67.
رزاقی، سعید(1386ب). این رومی­ها دیوانه­اند، کیهان کاریکاتور، شماره 187 و 188، 52-55.
رهگذر، رضا(1385). داستان­ها و افسانه­های تاریخی مذهبی برای کودکان و نوجوانان(قسمت آخر)، ادبیات داستانی، شماره 100، 70- 74.
سیگر، لیندا(1394). خلق شخصیت­های ماندگار: راهنمای شخصیت­پردازی در سینما، تلویزیون و ادبیات داستانی، ترجمه عباس اکبری، تهران: امیرکبیر.
شجاعی­طباطبایی، سیدمسعود(1386). تن­تن و اسپیرو، حاکمان بی­رقیب کمیک­استریپ، کیهان کاریکاتور، شماره 185 و 186، 68- 73.
لک، منوچهر(1384). درآمدی بر شناخت اسطوره و تبیین کارکردهای هویت­بخش آن در شعر جنگ، مطالعات ملی، شماره 23، 63- 84.
محمودزهی، موسی(1394). اسطوره­ی خودمرکزی(با تاکید بر نمونه­های آن در اساطیر و ادبیات ایران)، زبان و ادب فارسی، دوره 68، شماره 232، 169- 185.
میراحسان، میراحمد(1381). معنای پنهان قهرمان­سازی در سینمای غرب، کتاب ماه هنر، شماره 51 و 52، 53-58.
نوروزی، رقیه(1395). نگاهی جامعه­شناختی به کتاب کودک در «کودک و هژمونی پدرسالارانه»، نقد کتاب، شماره 10، 243-252.
References
Ahmadi, B. (1996). Truth & Beauty: Lectures on the Philosophy of Art, (32nd ed.), Tehran: Nashr-e Markaz (Text in Persian).
Ashraf abyaneh, Sh. (2004). In Love the World's Most Famous Journalist (About the Stories of Tintin and Milo), Farabi, 53, 543-556 (Text in Persian).
Bakhtin, M. (2003). Methodology for Research on Novels, Translated by Shahnaz Saeli, Honar-E-Dini, 17 & 18, 215-224 (Text in Persian).
Brown, A. J. (2001). Black Superheroes, Milestone Comics and Their Fans, USA: University Press of Mississippi.
Hirschberg, J. (2015). Reflections of Shadow: Creating Memorable Heroes and Villains for Film and TV, USA: Three Act Pertners.
Hosseinabadi, Z., Fanaei, M. (2019). A Study of Promotion of Paganism in Superhero Movies through Stereotype Making of Colors (With an Emphasis on Batman Series of 1989-2012), Glory of Art (Jelve-y Honar) Alzahra Scientific Quarterly Journal, 11(1), 55-62. doi: 10.22051/jjh.2019.17404.1293(Text in Persian).
Knowles, Ch. (2007). Our Gods Wear Spandex (The Secret History of Comic Book Heroes), San Francisco: Weiser Books.
Lak, M. (2005). An Introduction to Recognizing Myth and Explanation of its Identity - making Functions in War s Poetry, National Studies, 6(23), 63-83 (Text in Persian).
Lainé, J. (2008), Creez Vos Super-Heros, France: Eyrolles.
Mahmoudzahi, M. (2014). The myth of Self-Centeredness (With Emphasis on Its Examples in Iranian Mythology and Literature), Zaban Va Adab-E-Farsi 68(232), 169- 185(Text in Persian).
Mir Ehsan, M. A. (1381). The Hidden Meaning of Heroism in Western Cinema, Ketab-E-Mah-E-Honar, 51 & 52, 53-58 (Text in Persian).
 Norouzi, R. (2016). A Sociological Look at Children's Books in "Childhood and Patriarchal Hegemony", Social Science Quarterly Book Review, 10, 243-252. (Text in Persian).
Rahgozar, R. (2006). Religious Historical Stories and Legends for Children and Adolescents (Last Part), Journal of Research on Fictional Literature, 100, 70- 74 (Text in Persian).
 Razaghi, S. (2007/A). The Secret Behind Tintin`s Lasting, Kayhan Caricature, 185 & 186, 62- 67 (Text in Persian).
 Razaghi, S. (2007/B). These Romans are Crazy, Kayhan Caricature, 187 & 188, 52- 55. (Text in Persian).
Robinson, L. (2004). Wonder Woman (Feminisms and Superheroes), London: Routledge.
Screech, Matthew. (2005), Masters of the Ninth Art (Bandes Dessinees and Franco-Belgian Identity), United Kingdom: Liverpool University Press.
 Seger, L. (2016). Creating Unforgettable Charectors, Translated by Abbas Akbari, Amirkabir: Tehran (Text in Persian).
Shojaei Tabatabai, M. (2007). Tin Tin and Spiro, Kayhan Caricature, 185 & 186, 68- 73 (Text in Persian).
Tholas-Disset, C., Rizenhoff, K. (2015). Humor, Entertainment, and Popular Culture during World War I, New York: Palgrave Macmillan.
 
URLs:
URL1: http://www.ancoco.a.n.pic.centerblog.ne 
URL2: http://www.asterix.com
URL3:http://www.becassine.net
URL4:http://www.beta-blog.travisheightsbevworld.com
URL5:http://www.cinebooks.co.uk
URL6:http://www.cetaurclub.com
URL7:http://www.crunchyroll.com
URL8:http://www.dictionary.abadis.ir
URL9:http://www.Fracademic.com
URL10:http://www.franquin.com
URL11:http://www.geocaching.com
URL12:http://www.lambiek.net
URL13:http://www.nrblog.fr
URL14:http://www.pinterest.com
URL15:http://www.spirou.com
URL16:http://www.toonpedia.com
URL17:http://www.theguardian.com
 
 
 

Files

Share

How to cite

Statistics