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Post-Migratory Cultures in Postcolonial France$
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Kathryn Kleppinger and Laura Reeck

Print publication date: 2018

Print ISBN-13: 9781786941138

Published to Liverpool Scholarship Online: May 2019

DOI: 10.3828/liverpool/9781786941138.001.0001

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‘Nos ancêtres n’étaient pas tous des Gaulois’: Post-Migration and Bande Dessinée

‘Nos ancêtres n’étaient pas tous des Gaulois’: Post-Migration and Bande Dessinée

(p.219) ‘Nos ancêtres n’étaient pas tous des Gaulois’: Post-Migration and Bande Dessinée
Post-Migratory Cultures in Postcolonial France

Ilaria Vitali

Liverpool University Press

The association between bande dessinée (comics) and second generations might seem surprising, yet it is not new: the authors of Astérix le Gaulois, the most famous and celebrated comics in France, were also the children of immigrants (Polish and Hungarian for Goscinny, Italian for Uderzo). As a hybrid genre that links words and images, comics have been a privileged terrain since their inception for authors of second generations. This art form is now used by postcolonial second-generation authors in France as an ideal artistic medium to express their situation. Raising questions about the representation of minorities, 'new French' from immigrant backgrounds contribute to debates on national identity, and they do so with the unique elements of comics. Their graphic tales thus become an ideal site for observing the representation of cultural alterity and the use of forms of engagement that, in departing from entrenched practices, now acquire a new meaning. This chapter will trace the complexity of relations between comics and second-generation Maghrebis in France by following work by Farid Boudjellal, Halim Mahmoudi and the Gargouri sisters.

Keywords:   bande dessinée, comics, Farid Boudjellal, Halim Mahmoudi, Gargouri Sisters

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