LEADER 03759nam 2200529 450 001 9910639896803321 005 20230818142817.0 010 $a3-031-17001-6 024 7 $a10.1007/978-3-031-17001-0 035 $a(OCoLC)1358756263$z(OCoLC)1356794186$z(OCoLC)1356796025$z(OCoLC)1357015725 035 $a(MiAaPQ)EBC7166008 035 $a(Au-PeEL)EBL7166008 035 $a(CKB)25913696100041 035 $a(DE-He213)978-3-031-17001-0 035 $a(EXLCZ)9925913696100041 100 $a20230501d2023 uy 0 101 0 $aeng 135 $aurcz#---auuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aNinth Art $eBande Dessine?e, Books and the Gentrification of Mass Culture, 1964-1975 /$fSylvain Lesage 205 $a1st ed. 2023. 210 1$aCham, Switzerland :$cPalgrave Macmillan,$d[2023] 210 4$d©2023 215 $a1 online resource (210 pages) 225 1 $aPalgrave Studies in Comics and Graphic Novels Series 300 $aIncludes indexes. 311 08$aPrint version: Lesage, Sylvain Ninth Art. Bande Dessinée, Books and the Gentrification of Mass Culture, 1964-1975 Cham : Springer International Publishing AG,c2023 9783031170003 320 $aIncludes bibliographical references and index. 327 $a1. Introduction -- 2. Barbarella: Inventing comics for adults (1964-1968) -- 3. Flash Gordon and the transatlantic construction of a ninth art heritage (1968) -- 4. Astérix and the million-copies comics industry (1966) -- 5. Sharks, pirates, and ghosts. Authorship and the challenge of transmedia storytelling (Tintin et le lac aux requins, 1973) -- 6. Alternative comics publishing: Futuropolis and the artification of comics publishing -- 7. The author as publisher: Claire Bretécher, Les Frustrés, 1975 -- 8. Casterman and the birth of the French-language graphic novel -- 9. Conclusion. 330 $aIn France, comics are commonly referred to as the "ninth art". What does it mean to see comics as art? This book looks at the singular status of comics in the French cultural landscape. Bandes dessinées have long been published in French newspapers and magazines. In the early 1960s, a new standard format emerged: large hardback books, called albums. Albums played a key role in the emergence of the ninth art and its acceptance among other forms of literary narrative. From Barbarella in 1964 to La Ballade de la mer salée in 1975, from Astérix and its million copies to Tintin and its screen versions, within the space of just a few years the comics landscape underwent a deep transformation. The album opened up new ways of creating, distributing, and reading bandes dessinées. This shift upended the market, transformed readership, initiated new transmedia adaptations, generated critical discourse, and gave birth to new kinds of comics fandom. These transformations are analysed through a series of case studies, each focusing on a noteworthy album. By retracing the publishing and critical history of these classic bandes dessinées, this book questions the blind spots of a canon based on the album format and uncovers the legitimisation processes that turned bande dessinée into the ninth art. . 410 0$aPalgrave studies in comics and graphic novels. 606 $aComic books, strips, etc$zFrance$xHistory and criticism 610 $abørne- og ungdomslitteratur. 610 $ategneserier. 610 $absup. 615 0$aComic books, strips, etc.$xHistory and criticism. 676 $a741.5944 700 $aLesage$b Sylvain$01248408 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910639896803321 996 $aNinth Art$93012900 997 $aUNINA