#ATELIER MASTODONTE PROFESSIONAL#
#ATELIER MASTODONTE SERIES#

The first addresses the actors of the sector, their social characteristics, their professional paths, the division of labor, the social relations of production, the modalities of learning and vocational integration, the difficulties encountered to make one's place, the existence of glass ceilings according to social group s, cultural origin s or gender. T his thematic issue of ITTI will examine the articulation between two complementary dimensions: This raises the following question: In what way is the work put into images affected and oriented by the organization and modalities of the comics work ?

Such an approach thrives on three major sources: the investigative techniques of the social sciences, the narrative of the self, and the journalistic approach. Indeed, whether they are political or not, these publications often relied on thoughts about the approach and the possibilities of the medium, referring to the development of so-called 'non-fiction' literature (Groensteen, 2016). Although this expression may appear problematic due to a vague and allusive definition 2, it allows us to insist on the deep reflexivity developed along the production of these works. These two heavy tendencies observed in the comic books market - documentary concern and autobiographical inspiration - come together within a broader genre: the graphic novel.

2 According to Jan Baetens (2012), the graphic novel is distinguished by its production (it is the wo (.).

From this ongoing rise resulted many remarkable productions, especially in Europe, such as books from Marguerite Abouet, Antonio Altarriba, Manu Larcenet, Catherine Meurisse, Marjane Satrapi or Riad Sattouf, among many others. Born in the 1960s in Japan and the United States, autobiographical comi cs is a genre which strongly increased from the end of the 20th century, whether in fanzines, traditional publishing or webcomics. This way, authors activate what Charles Wright Mills (1961) called a sociological information, allowing themselves to situate their biography in the great hi story. Indeed, there has been a growing interest in autobiographical comics, allowing the komtechT15:33:00k a Françoise LaotT22:16:00FL utho r to put his or her life at the heart of the story. Once again, the evolution of the medium reinforces this phenomenon.

#ATELIER MASTODONTE SERIES#

But they also are a source of inspiration, whether they are treated head-on ( Désœuvré by Lewis Trondheim, A drifting life by Yoshihiro Tatsumi, Cases Blanches by Olivier Martin and Sylvain Runberg.) or indirectly ( The initiates by Étienne Davodeau, Le roi des bourdons by David de Thuin, the series l'Atelier Mastodonte published in Le Journal de Spirou. These pleasures and sufferings in the work of professionals have led to social movements and the creation of collectives 1. While authors or publishers can highlight the pleasure they derive from their activity, they also point out the many difficulties in the field: economic precariousness, pressure to meet deadlines, omnipresent gender discrimination and invisibility of women's work, lack of recognition from the public or the govern ment, etc. Indeed, the production of these comic books requires a whole set of actors involved in different steps of creation and/or execution in the publishing process. However, if comics question work by picturing it, it also - and above all – do es it as a social activity. 1 These collectives can take the form of unions (such as the SNAC-BD created in 2007), associations ( (.).komtechT15:16:00k The Nib, La revue dessinée and Topo ). The popularity of the genre has grown so much that several publishers dedicated specific collections to this type of production, or even created magazines of comics journalism ( i.e. Non-fiction comics became popular when Art Spiegelman won the Pulitzer Prize in 1992, and later in the wake of the success of Joe Sacco's books. This genre, also called ' comics journalism ' or ' bande dessinée du r é el ', aims to report various facts in order to make a testimony about any kind of experiences (Lesage, 2017). This phenomenon is accentuated by the emergence of a specific genre: komtechT15:15:00k non-fiction comic s. Moreover, it also leads its readers to question the work in many ways.įirst, comics are used to propose a visual representation of work : today, numerous publications describe various social realities, including many professional practices (Géhin, 2018-2019). Laot and Pierre NocérinoĬomics is a cultural asset that is particularly appreciated all around the world. Issue coordinated by Jean-Paul Géhin, Françoise F.

Atelier mastodonte