Mark Mckinney
Biographic Data
| ID | 3867902 |
|---|---|
| NAME | Mark Mckinney |
| GIVEN NAMES | Mark |
| FAMILY NAME | Mckinney |
| SIGNATURE | MCKINNEY M |
| AFFILIATIONS | Miami University |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Legitimating Comics by Rewriting Literature and Redrawing Art
Aziz against la zizanie 1
In the 1980s, Farid Boudjellal, José Jover and Larbi Mechkour published “Aziz Bricolo,” a humor-based comics series, in Pif, a children’s periodical associated with the French Communist party. The series marked a postcolonial turn in French comics featuring multicultural groups of children as protagonists, a genre with a history reaching far back into the colonial period. “Aziz Bricolo” broke with the previous dominant paradigm, in which white mi…
Enjeux idéologiques dans la patrimonialisation de l’œuvre d’Alain Saint-Ogan
Alain Saint-Ogan (1895-1974) est considéré comme l’un des pères fondateurs de la bande dessinée française, ayant contribué à la propagation de la bulle dans la bande dessinée en France et influencé Hergé, qu’il rencontra en 1931. Son œuvre a été patrimonialisée de diverses manières : par la nomination de Saint-Ogan comme président du premier Salon international de la bande dessinée d’Angoulême en 1974, par la réédition chez Futuropolis (1986-1992…
Naming the Place and Telling the Story in Demain, demain
This chapter focuses on Demain, demain: Nanterre. Bidonville de la Folie, 1962–1966, by Laurent Maffre, a remarkable graphic novel whose hauntingly evocative title, “Tomorrow, Tomorrow: Nanterre. Shantytown of Madness, 1962–1966,” foregrounds one of the locations that French anthropologist Marc Augé calls non-lieux [non-places]. Very different from lieux anthropologiques and what historian Pierre Nora and his colleagues have described as lieux de…
Rappels croisés de la colonisation dans Qui a connu le feu/Who Has Known Fire (2004) d'Olivier Bramanti et d'Yvan Alagbé
Olivier Bramanti et Yvan Alagbé ont publié leur album Qui a connu le feu en 2004 chez Frémok, un éditeur belge et français de bandes dessinées expérimentales. Les artistes y retravaillent d'une manière dialogique des images coloniales françaises du xix e siècle et des célèbres poèmes portugais des xvi e et xx e siècles. Le personnage principal du livre est le roi Béhanzin d'Abomey, vaincu et exilé par les Français à la fin du xix e siècle. L'albu…
Bibliographie sélective
ou représentation de cet article, notamment par photocopie, n'est autorisée que dans les limites des conditions générales d'utilisation du site ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement
Transculturation in French Comics
French bande dessinée [comics] provide an excellent area of analysis for developing the concept of transculturation, originally proposed by Fernando Ortiz, and more recently suggested by Alec G. Hargreaves as a useful term for moving beyond the “French”/“Francophone” opposition. The medium has long been transcultural and transnational, and contemporary French comics production and its colonial heritage include visual and textual elements from (po…
Sarkaricature
For many years, Nicolas Sarkozy has been a favorite subject of French political cartoonists positioned from the far left to the far right of the political spectrum. Two of them (Plantu and Luz) even describe the politician himself as a veritable caricature, or a Sarkaricature, one might say. The article surveys political cartoons, comic strips, and comic books featuring Sarkozy to show the commonalities and differences in their depictions of the …
Framing the Banlieue
The theme of the multiethnic banlieue is a trendy one in comics (bandes dessinees), just as it is in other media. More globally, it is part of a long cultural tradition of showing the underside or
Tout cela, je ne voulais pas le laisser perdre
A comic-book series by French artist Jacques Ferrandez serves as a case study of how Pied-noir memories of Algeria are given expression in popular culture. Ferrandez recreated French Algeria as a virtual place of memory in his five-volume Carnets d'Orient , by borrowing images from colonial postcards and orientalist paintings, as well as stories from sources including his own family history and French travel writings about the 'Orient'. Although …
Post-Colonial Cultures in France
Post-colonial cultures in France
Transculturation in French Comics
French bande dessinée [comics] provide an excellent area of analysis for developing the concept of transculturation, originally proposed by Fernando Ortiz, and more recently suggested by Alec G. Hargreaves as a useful term for moving beyond the “French”/“Francophone” opposition. The medium has long been transcultural and transnational, and contemporary French comics production and its colonial heritage include visual and textual elements from (po…
Tout cela, je ne voulais pas le laisser perdre
A comic-book series by French artist Jacques Ferrandez serves as a case study of how Pied-noir memories of Algeria are given expression in popular culture. Ferrandez recreated French Algeria as a virtual place of memory in his five-volume Carnets d'Orient , by borrowing images from colonial postcards and orientalist paintings, as well as stories from sources including his own family history and French travel writings about the 'Orient'. Although …
Post-colonial cultures in France
Post-Colonial Cultures in France
Tout cela, je ne voulais pas le laisser perdre
A comic-book series by French artist Jacques Ferrandez serves as a case study of how Pied-noir memories of Algeria are given expression in popular culture. Ferrandez recreated French Algeria as a virtual place of memory in his five-volume Carnets d'Orient , by borrowing images from colonial postcards and orientalist paintings, as well as stories from sources including his own family history and French travel writings about the 'Orient'. Although …
Framing the Banlieue
The theme of the multiethnic banlieue is a trendy one in comics (bandes dessinees), just as it is in other media. More globally, it is part of a long cultural tradition of showing the underside or
Sarkaricature
For many years, Nicolas Sarkozy has been a favorite subject of French political cartoonists positioned from the far left to the far right of the political spectrum. Two of them (Plantu and Luz) even describe the politician himself as a veritable caricature, or a Sarkaricature, one might say. The article surveys political cartoons, comic strips, and comic books featuring Sarkozy to show the commonalities and differences in their depictions of the …
Transculturation in French Comics
French bande dessinée [comics] provide an excellent area of analysis for developing the concept of transculturation, originally proposed by Fernando Ortiz, and more recently suggested by Alec G. Hargreaves as a useful term for moving beyond the “French”/“Francophone” opposition. The medium has long been transcultural and transnational, and contemporary French comics production and its colonial heritage include visual and textual elements from (po…
Bibliographie sélective
ou représentation de cet article, notamment par photocopie, n'est autorisée que dans les limites des conditions générales d'utilisation du site ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement
Rappels croisés de la colonisation dans Qui a connu le feu/Who Has Known Fire (2004) d'Olivier Bramanti et d'Yvan Alagbé
Olivier Bramanti et Yvan Alagbé ont publié leur album Qui a connu le feu en 2004 chez Frémok, un éditeur belge et français de bandes dessinées expérimentales. Les artistes y retravaillent d'une manière dialogique des images coloniales françaises du xix e siècle et des célèbres poèmes portugais des xvi e et xx e siècles. Le personnage principal du livre est le roi Béhanzin d'Abomey, vaincu et exilé par les Français à la fin du xix e siècle. L'albu…
Naming the Place and Telling the Story in Demain, demain
This chapter focuses on Demain, demain: Nanterre. Bidonville de la Folie, 1962–1966, by Laurent Maffre, a remarkable graphic novel whose hauntingly evocative title, “Tomorrow, Tomorrow: Nanterre. Shantytown of Madness, 1962–1966,” foregrounds one of the locations that French anthropologist Marc Augé calls non-lieux [non-places]. Very different from lieux anthropologiques and what historian Pierre Nora and his colleagues have described as lieux de…
Enjeux idéologiques dans la patrimonialisation de l’œuvre d’Alain Saint-Ogan
Alain Saint-Ogan (1895-1974) est considéré comme l’un des pères fondateurs de la bande dessinée française, ayant contribué à la propagation de la bulle dans la bande dessinée en France et influencé Hergé, qu’il rencontra en 1931. Son œuvre a été patrimonialisée de diverses manières : par la nomination de Saint-Ogan comme président du premier Salon international de la bande dessinée d’Angoulême en 1974, par la réédition chez Futuropolis (1986-1992…
Aziz against la zizanie 1
In the 1980s, Farid Boudjellal, José Jover and Larbi Mechkour published “Aziz Bricolo,” a humor-based comics series, in Pif, a children’s periodical associated with the French Communist party. The series marked a postcolonial turn in French comics featuring multicultural groups of children as protagonists, a genre with a history reaching far back into the colonial period. “Aziz Bricolo” broke with the previous dominant paradigm, in which white mi…
Legitimating Comics by Rewriting Literature and Redrawing Art
Art (9 works) · Comics (6 works) · Comics and Graphic Narratives (6 works) · History (6 works) · Literature (6 works) · Philosophy (6 works) · History (5 works) · Cultural Identity and Heritage (4 works) · Humanities (4 works) · Philosophy (4 works)