Titlebook: Ninth Art. Bande dessinée, Books and the Gentrification of Mass Culture, 1964-1975; Sylvain Lesage Book 2023 The Editor(s) (if applicable)

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ves the handling of multiple executables on today supercomputer. This multi-solver approach requires data interpolation at the coupling interface which introduce another numerical error. In contrast, the second approach is fully integrated within one numerical framework. Thereby the solvers are invo

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Barbarella: Inventing Adult Comics Through the Book,en, represents a key moment in comics publishing, and a crucial model for the literary turn in comics. Its reception, both by the then-emerging fan culture and by the . in charge of comics censorship, throws light on the difficulties facing the emerging “adult” comics scene. Roger Vadim’s problemati

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,Astérix and the Transformation of the Comics Market René Goscinny, Albert Uderzo, ,, 1966,eam publishing, triggering lasting change to the sector. . accelerated the shift from magazine to book form, but also to other media, for the success of Astérix was also built on its many adaptations (e.g. radio, records, and cinema) and countless advertising iterations. In other words, . enables us

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Sharks, Pirates, and Ghosts. Authorship and the Challenge of Transmedia Storytelling,her and studio to dream up ever more inventive ways of bringing the character to life. . casts a particularly bright light on the tensions in the . market, where the aspiration for recognition got caught up in the shift in children’s cultural practices and the need to tackle competition from audio-v

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Futuropolis: A Hub for Independent , and a Crucible for New Formats,rmats reveal the publishing house’s singular vision of the future of comics: Futuropolis’ books were radically different from the forms inherited from children’s albums, seeking both to promote the authorial identity of the artists and to impose a unique visual identity.

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