Advertisement

Comics Memory pp 211-230 | Cite as

A Trip Down Memory Lane: Reprints and Canonization of Morris’ Lucky Luke Series

  • Nicolas Martinez
Chapter
Part of the Palgrave Studies in Comics and Graphic Novels book series (PSCGN)

Abstract

This chapter explores the editorial evolution of Morris’ Lucky Luke comics series, from the publication of the first magazine strips in the 1940s to its canonization through successive reprints. Special attention is paid to the recent L’Art de Morris (2015), a book that aims to contribute to a history of bande dessinée and amass symbolic capital—as defined by sociologist Pierre Bourdieu—and to the associated exhibition that commemorated the 70 th anniversary of the creation of Lucky Luke, unveiling a wealth of historical and archival documents that breathe new life into the comics while taking a nostalgic look at the past.

Notes

Acknowledgements

I would like to acknowledge the generous support of the School of Modern Languages, Cardiff University, and the Cité internationale de la bande dessinée et de l’image in Angoulême. My gratitude goes also to Claire Gorrara, Ryan Prout, Philippe Capart, Maaheen Ahmed, Benoît Crucifix, and to the anonymous reviewers for their positive input on early versions of this chapter. Last but not least, I would like to thank Lucky Comics for facilitating the images included herein.

References

  1. Ahmed, Maaheen, Stéphanie Delneste, and Jean-Louis Tilleuil, eds. 2016. The Cultural Standing of Comics: Ambiguities and Changes. Louvain-la-Neuve: Academia.Google Scholar
  2. Ameline, Charles. 2009. “Généalogie d’un interdiscours sur la bande dessinée.” Du9: L’autre bande dessinée, December. http://www.du9.org/dossier/genealogie-d-un-interdiscours-sur.
  3. Baetens, Jan, and Hugo Frey. 2015. “Nostalgia and the Return of History.” In The Graphic Novel: An Introduction, edited by Jan Baetens and Hugo Frey, 217–45. New York: Cambridge University Press.Google Scholar
  4. Baetens, Jan, and Pascal Lefèvre. 2014. “The Work and Its Surround.” In French Comics Theory Reader, edited by Ann Miller and Bart Beaty, 191–202. Leuven: Leuven University Press.Google Scholar
  5. Beaty, Bart. 2012. Comics Versus Art. Toronto: Toronto University Press.Google Scholar
  6. Beaty, Bart, and Benjamin Woo. 2016. The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books. New York: Palgrave Macmillan.CrossRefGoogle Scholar
  7. Beaujean, Stéphane, and Jean-Pierre Mercier, eds. 2015. L’Art de Morris. Paris: Lucky Comics.Google Scholar
  8. Berthou, Benoît. 2010. “La bande dessinée franco-belge: quelle industrie culturelle?” Textyles 36–37, June 1, 2013. http://journals.openedition.org/textyles/1398.
  9. Bisson, Julien, ed. 2016. Lucky Luke: Les secrets d’une oeuvre. Paris: Lire.Google Scholar
  10. Bleton, Paul. 2002. Western, France: La place de l’Ouest dans l’imaginaire français. Paris: Encrage and Les Belles Lettres.Google Scholar
  11. Boltanski, Luc. 1975. “La constitution du champ de la bande dessinée.” Actes de la recherche en sciences sociales 1 (1): 37–59.CrossRefGoogle Scholar
  12. ———. 2014. “The Constitution of the Comics Field.” In French Comics Theory Reader, edited by Ann Miller and Bart Beaty, 281–301. Leuven: Leuven University Press.Google Scholar
  13. Bourdieu, Pierre. 1996. The Rules of Art: Genesis and Structure of the Literary Field. Translated by Susan Emanuel. Cambridge: Polity Press.Google Scholar
  14. ———. 2010. “Culture Is in Danger.” In Sociology Is a Martial Art: Political Writings by Pierre Bourdieu, edited by Gisèle Sapiro and translated by Priscilla Parkhurst Ferguson, Richard Nice, and Loïc Wacquant, 222–33. New York: The New Press.Google Scholar
  15. Byrne, John. 2011. “Conquering the Comics World Without Asterix.” The Irish Times, January 17. https://www.irishtimes.com/culture/books/conquering-the-comics-world-without-asterix-1.1278031.
  16. Capart, Philippe, and Erwin Dejasse. 2005. Morris, Franquin, Peyo et le dessin animé. Angoulême: Editions de l’An 2.Google Scholar
  17. ———. 2014. “In Search of the Lost Serial.” In French Comics Theory Reader, edited by Ann Miller and Bart Beaty, 313–20. Leuven: Leuven University Press.Google Scholar
  18. Charlier, Jean-Michel, and Jean Giraud. 1963–1964. “Fort Navajo.” Pilote, 210–32.Google Scholar
  19. Chute, Hillary. 2008. “Comics as Literature? Reading Graphic Narrative.” PMLA 123 (2): 452–65.CrossRefGoogle Scholar
  20. Couch, Chris. 2000. “The Publication and Formats of Comics, Graphic Novels, and Tankobon.” Image [&] Narrative, Online Magazine of the Visual Narrative, December. http://www.imageandnarrative.be/inarchive/narratology/chriscouch.htm.
  21. Crépin, Thierry, and Thierry Groensteen, eds. 1999. “On tue à chaque page”: La loi de 1949 sur les publications destinées à la jeunesse. Paris: Editions du Temps and Musée de la bande dessinée.Google Scholar
  22. Crucifix, Benoît. 2017. “Rethinking the ‘Memorable Panel’ from Pierre Sterckx to Olivier Josso Hamel.” European Comic Art 10 (2): 24–47.CrossRefGoogle Scholar
  23. Daude, Gilles. 1974. “Morris et René Goscinny à propos de leur collaboration sur Lucky Luke.” Cinéma en herbe, April 12. http://www.ina.fr/video/I08282554.
  24. Delporte, Yvan. 1992. La face cachée de Morris. Geneva: Lucky Productions.Google Scholar
  25. Dony, Christophe. 2014. “The Rewriting Ethos of the Vertigo Imprint: Critical Perspectives on Memory-Making and Canon Formation in the American Comics Field.” In La bande dessinée: un ‘art sans mémoire’?, edited by Benoît Berthou. Comicalités, April 18. http://journals.openedition.org/comicalites/1918.
  26. Dupuis, Jérôme. 2016a. “Lucky Luke en Amérique.” In Lucky Luke: Les secrets d’une oeuvre, edited by Julien Bisson, 16–21. Paris: Lire.Google Scholar
  27. ———. 2016b. “Les aventures éditoriales de Lucky Luke.” In Lucky Luke: Les secrets d’une oeuvre, edited by Julien Bisson, 40–43. Paris: Lire.Google Scholar
  28. Gibson, Mel. 2015. Remembered Reading: Memory, Comics and Post-War Constructions of British Childhood. Leuven: Leuven University Press.Google Scholar
  29. Gorgeard, Frank-Michel. 2011. “Le classique en bande dessinée.” In La bande dessinée: un ‘art sans mémoire’?, edited by Benoît Berthou. Comicalités, July 6. http://journals.openedition.org/comicalites/296.
  30. Gouanvic, Jean-Marc. 2005. “A Bourdieusian Theory of Translation, or the Coincidence of Practical Instances.” The Translator 11 (2): 147–66.CrossRefGoogle Scholar
  31. Groensteen, Thierry. 2006. Un objet culturel non identifié. Angoulême: L’An 2.Google Scholar
  32. ———. 2016. “La mobilisation des auteurs de bande dessinée, un survol historique.” Les États Généraux de la Bande Dessinée, February 17. http://www.etatsgenerauxbd.org/2016/02/16/une-histoire-des-mobilisations-des-auteurs-de-bd.
  33. Grove, Laurence. 2010. Comics in French: The European Bande Dessinée in Context. New York: Berghahn.Google Scholar
  34. Lefèvre, Pascal. 2000. “The Importance of Being ‘Published’: A Comparative Study of Different Comics Formats.” In Comics and Culture: Analytical and Theoretical Approaches to Comics, edited by Anne Magnussen and Hans-Christian Christiansen, 91–106. Copenhagen: Museum Tusculanum, University of Copenhagen.Google Scholar
  35. Lemieux, Cyril. 2010. “36 ans de BD à Angoulême: la canonisation d’un art mineur.” In La sociologie sur le vif, edited by Cyril Lemieux, 285–86. Paris: Presses des Mines.CrossRefGoogle Scholar
  36. Lesage, Sylvain. 2015. “Mutation des supports, mutation des publics. La bande dessinée de la presse au livre.” Belphégor 13 (1), May 10. http://journals.openedition.org/belphegor/628.
  37. Lesage, Sylvain. 2014. “L’Effet codex: quand la bande dessinée gagne le livre. L’album de bande dessinée en France de 1950 à 1990.” PhD dissertation, Université Versailles Saint-Quentin-en-Yvelines.Google Scholar
  38. Lungheretti, Pierre. 2017. “‘La bande dessinée connaît en France un nouvel âge d’or’, pas ses auteurs.” Le Monde, October 25. http://mobile.lemonde.fr/idees/article/2017/10/25/la-bande-dessinee-connait-en-france-un-nouvel-age-d-or-pas-ses-auteurs_5205909_3232.html.
  39. Maigret, Éric, and Matteo Stefanelli, eds. 2012. La bande dessinée: une médiaculture. Paris: Armand Colin.Google Scholar
  40. Menu, Jean-Christophe. 2015. “L’énigme Lucky Luke.” In L’Art de Morris, edited by Stéphane Beaujean and Jean-Pierre Mercier, 9–10. Paris: Lucky Comics.Google Scholar
  41. Michallat, Wendy. 2007. “Pilote ‘Hebdomadaire’ and the Teenager Bande Dessinée of the 1950s and 1960s.” Modern & Contemporary France 15 (3): 277–92.CrossRefGoogle Scholar
  42. Morgan, Harry. 2011. “Y’a-t-il un canon des littératures dessinées?” In La bande dessinée: un ‘art sans mémoire’?, edited by Benoît Berthou. Comicalités, October 5. http://journals.openedition.org/comicalites/620.
  43. Morris. 1964. “Hergé le souriant créateur de Tintin (et Milou).” Spirou 1392 (December): 96.Google Scholar
  44. ———. 1965. “Lucky Luke à l’université.” Giff Wiff, 16.Google Scholar
  45. ———. 2016. Lucky Luke: L’intégrale 1. Brussels: Dupuis.Google Scholar
  46. Morris, and Pierre Vankeer. 1964–1967. “9e art: Le Musée de la bande dessinée.” Spirou.Google Scholar
  47. Ory, Pascal. 1984. “Mickey Go Home! La désaméricanisation de la bande dessinée (1945–1950).” Vingtième Siècle, revue d’histoire 4 (October): 77–88.Google Scholar
  48. Tibéri, Jean-Paul. 1981. La Bande dessinée et le cinéma. Paris: Regards.Google Scholar
  49. Vandooren, Philippe. 2014. Comment on devient créateur de bandes dessinées. Ixelles: Niffle.Google Scholar
  50. Van Vaerenbergh, Olivier. 2016a. “L’Art de Morris.” In Lucky Luke: Les secrets d’une oeuvre, edited by Julien Bisson, 33–34. Paris: Lire.Google Scholar
  51. ———. 2016b. “Le goût de la caricature.” In Lucky Luke: Les secrets d’une oeuvre, edited by Julien Bisson, 56–57. Paris: Lire.Google Scholar
  52. ———. 2016c. “Western et BD: Le grand duel.” In Lucky Luke: Les secrets d’une oeuvre, edited by Julien Bisson, 108–11. Paris: Lire.Google Scholar
  53. Villerbu, Tangi. 2015. BD Western: Histoire d’un genre. Paris: Karthala.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Nicolas Martinez
    • 1
  1. 1.Cardiff UniversityCardiffWales, UK

Personalised recommendations