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2016 | OriginalPaper | Chapter

10.  Persepolis by Marjane Satrapi?

Authors : Bart Beaty, Benjamin Woo

Published in: The Greatest Comic Book of All Time

Publisher: Palgrave Macmillan US

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Abstract

This chapter considers the way that foreign-language comic books (French-language bandes dessinées and Japanese manga) have shaped the American comic book industry. Specifically, the chapter seeks to demonstrate the way that foreign-language comics are understood differently in the USA than they frequently are in their home countries. This chapter focuses on processes of exoticization and misrecognition that tend to recast works and mitigate against the understanding of comics as a global phenomenon.

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Footnotes
1
Anne Tully, “An Interview with Marjane Satrapi”, BookSlut, October 2004, http://​www.​bookslut.​com/​features/​2004_​10_​003261.​php
 
2
Simon Hattenstone, “Confessions of Miss Mischief”, The Guardian, 29 March 2008, http://​www.​theguardian.​com/​film/​2008/​mar/​29/​biography
 
3
Brian Hibbs, “Looking at BookScan: 2008,” Tilting at Windmills, Comic Book Resources, February 19, 2009, http://​www.​comicbookresourc​es.​com/​?​page=​article&​id=​20119; Brian Hibbs, Dissecting the 2012 BookScan Numbers,” Tilting at Windmills, Comic Book Resources, February 14, 2013, http://​www.​comicbookresourc​es.​com/​?​page=​article&​id=​43773
 
4
Nima Naghibi and Andrew O’Malley, “Estranging the Familiar: ‘East’ and ‘West’ in Satrapi’s Persepolis,” English Studies in Canada 31, no. 2–3 (2005), 223–247. The first French-language article appeared the year prior: Mélanie Carrier, “Persepolis et les révolutions de Marjane Satrapi,” Belphégor: Littérature Populaire et Culture Médiatique 4, no. 1 (2004), http://hdl.handle.net/10222/47691
 
5
In this regard, the scholarship of John Lent, and specifically his editorship of The International Journal of Comic Art, has been an inspiration and challenge to many.
 
6
See Casey Brienza, ed., Global Manga: Japanese’ Comics without Japan? (Farnham, UK: Ashgate, 2015).
 
7
There are nearly 45 million copies of the same fifteen volumes in print in the original Japanese.
 
8
Shea Hennum, “What Our Failure to Cover Attack on Titan Says About the Comics Industry,” Paste Magazine, July 30, 2015, http://​www.​pastemagazine.​com/​articles/​2015/​07/​theattack-on-titan-comic-series-just-sold-25-milli.​html; Chris Butcher, “Shifts and Living History,” Comics212 (blog), July 20, 2015, http://​comics212.​net/​?​p=​8263
 
9
See Chris Owens, “Tintin Crosses the Atlantic: The Golden Press Affair,” Tintinologist.org: The Tintin Fan’s Resource, January 2007, http://​www.​tintinologist.​org/​articles/​goldenpress.​html
 
10
T.F. Mills, “American Discovers Tintin,” The Comics Journal #86 (November 1983), 60–69.
 
11
That title belongs to the pirated edition of Töpffer’s Mr. Vieux Bois (Obadiah Oldbuck); Thierry Smolderen, The Origins of Comics: From William Hogarth to Winsor McCay, trans. Bart Beaty and Nick Nguyen (Jackson: University Press of Mississippi, 2014), 62.
 
12
Jean-Paul Gabilliet, “A Disappointing Crossing: The North American Reception of Asterix and Tintin,” in Transnational Perspectives on Graphic Narratives: Comics at the Crossroads, ed. Daniel Stein, Shane Denson, and Christina Meyer (London: Bloomsbury Academic, 2013), 266.
 
13
Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard Nice, Routledge Classics (Abingdon, UK: Routledge, 2010), 138.
 
14
Bourdieu, Distinction, 321, 577n4.
 
15
Pierre Bourdieu, “Passport to Duke,” Metaphilosophy 28, no. 4 (1997): 449–55.
 
16
Spiegelman may be the closest thing to a truly international superstar, having been awarded the Grand Prix de la ville d’Angoulême in 2012, although his reputation in Japan is not comparable to what it is in the USA or, to a lesser degree, France.
 
17
Gabilliet, “A Disappointing Crossing,” 257.
 
Metadata
Title
Persepolis by Marjane Satrapi?
Authors
Bart Beaty
Benjamin Woo
Copyright Year
2016
DOI
https://doi.org/10.1057/978-1-137-53162-9_10