In English-speaking countries, Francophone comic strips like Herges' ‘Les Aventures de Tin Tin’ and Goscinny and Uderzo's ‘Les Aventures d'Asterix’ are viewed — and marketed — as children's literature. But in Belgium and France, their respective countries of origin, such strips — known as bandes dessinées — are considered a genuine art form, or, more specifically, ‘the ninth art’. But what accounts for the drastic difference in the way such comics are received? This book explores that difference in the reception and reputation of bandes dessinées. Along with in-depth looks at Tintin and Asteri ... More

In English-speaking countries, Francophone comic strips like Herges' ‘Les Aventures de Tin Tin’ and Goscinny and Uderzo's ‘Les Aventures d'Asterix’ are viewed — and marketed — as children's literature. But in Belgium and France, their respective countries of origin, such strips — known as bandes dessinées — are considered a genuine art form, or, more specifically, ‘the ninth art’. But what accounts for the drastic difference in the way such comics are received? This book explores that difference in the reception and reputation of bandes dessinées. Along with in-depth looks at Tintin and Asterix, the book considers other major comics artists such as Jacque Tardi, Jean Giraud and Moebius, assessing in the process their role in Francophone literary and artistic culture.