SERIELAND - fordi vi elsker tegneserier

Frank Madsen skrev:Hvad er egentlig forskellen på de to serier?

Peter Becher skrev:

Frank Madsen skrev:Hvad er egentlig forskellen på de to serier?

Skal dette tages som et udtryk for, at vi reelt godt kunne undvære den ene af de to?

Jan Erik Hedberg skrev:God observation, Madsen, har ikke tænkt over disse sammenfald før!
"Bummelummerlum, skal han være reporter - njaa, er dét ikke set før?" -" Elevatordreng! Elevatordreng i et tegneatelie, Bon!!"
...."Hmmmm, hvad skal jeg finde på, istedet for en hund, hmmm... Et egern!"...
" Ja, dér var den, selvfølgelig et egern!"

Frank Stevens skrev:It would be wrong though to interpretate the differences between general and vocational pupils solely from a ‘laddish’ point of view. The differences in cultural preferences demonstrate another refinement. The best way to explain this refinement is by referring to what has been called in the French speaking part of Belgium as ‘le duel Spirou-Tintin’3 (Dayez 2001). Since the existence of the two comic papers, from the 1940’s4, there was a fierce competition between them about style and a competition for the hearts of the young public. The magazine Tintin was led by Hergé, the designer of the comic character with the same name. The comics in the magazine were like the comic Tintin: catholic, serious, without frivolities, open to events in other cultures or to events in the past, sound from an educational point of view, with realistically, anatomically correct drawings and well documented backgrounds. All comic writers were followers of the so called clear line drawings, so cherished by Hergé. Spirou on the other hand, had a more rebellious image, although it was as catholic or as sound from an educational point of view as Tintin. Instead of the seriousness of the comics of Tintin, it offered comics with a sense of humour like Spirou, but also comics as the Smurfs or Lucky Luke. The drawings and stories were not at all realistic, the events took place in a completely fantasized world and there was a strong emphasis on humour and amusement. This ‘duel’ was not limited to the style of the comic papers alone. There was also a kind of duel between the readers of the two magazines. Tintin-adapts did not read Spirou, and on the other hand Spirou-fans did not want to be associated with Tintin or readers of the magazine, which they considered pathetic. This controversy did not limit itself to the two comic magazines, but also took on the form of a musical dispute. In the fifties Spirou-fans favoured American rock music like the music of Jerry Lee Lewis, Little Richard, etc. Tintin-fans developed a taste for more European style sentimental songs. In the sixties it developped into the friction between Rolling Stones and Beatles fans. Robbedoes/Spirou-fans became supporters of the rougher and less polished music of the Rolling Stones, while Kuifje/Tintin-readers predominantly became Beatles fans. Since the sixties, the music industry has tried on several occasions to artificially create a distinction between more ‘rebellious’ and ‘rougher’ music groups on the one side and more ‘innocent’ and ‘respectable’ groups. One such an example is the very artificial controversy between Blur and Oasis in the nineties. There is a certain ressemblance in our results of that old divide. On the one hand, you have the goody goodies in general and art secundary education, very much involved in the ‘serious’ and ‘qualitative’ approach in the products belonging to the cultural correct dimension or involved in the search for authenticity in the products belonging to the roots- or rock dimension and with attention for cultural products popular when their parents were teenagers themselves. On the other side, there are pupils in vocational education looking for amusement and a certain degree of rebellion and toughness in cultural products. The divide between Robbedoes-fans and Kuifje-fans never has run very deep. They were two shades of the same popular culture, acting as material to mark symbolic boundaries. Similarly, one can read the cultural differences between the two groups of pupils.

Christian Aarestrup skrev:Det gi'r vel ikke rigtig nogen mening at vælge mellem noget, hvis man ikke positioner sig afgørende ved valget. Efterhånden er de to serier vel smeltet sammen i ren tegneserie-nostalgi, og der er derfor ikke længere meget rock'n'roll over at bekende til til Spirou kontra meget overklasse over at gå op i Tintin.

Frank Stevens skrev:The magazine Tintin was led by Hergé, the designer of the comic character with the same name. The comics in the magazine were like the comic Tintin: catholic, serious, without frivolities, open to events in other cultures or to events in the past, sound from an educational point of view, with realistically, anatomically correct drawings and well documented backgrounds. All comic writers were followers of the so called clear line drawings, so cherished by Hergé. Spirou on the other hand, had a more rebellious image, although it was as catholic or as sound from an educational point of view as Tintin. Instead of the seriousness of the comics of Tintin, it offered comics with a sense of humour like Spirou, but also comics as the Smurfs or Lucky Luke. The drawings and stories were not at all realistic, the events took place in a completely fantasized world and there was a strong emphasis on humour and amusement.

Frank Madsen skrev:[Jeg var så uforsigtig at nævne lighederne i en mailingliste (comix-digest), jeg var medlem af 1996-99, og spurgte, om Spirou var en slags "poor man's Tintin". Der lød et ramaskrig fra flere sider, men jeg fik senere en mail fra en belgier, der skrev, at magasinerne Tintin og Spirou faktisk henvendte sig til læsergrupper fra forskellige sociale lag, hvor Tintin-magasinet selvfølgelig tiltrak det kostskoleagtige overklassesegment blandt børnene, mens Spirou var det mere arbejderagtige tilbud. Det kan forklare både lighederne (konkurrence og gensidig inspiration) og forskellene (forskellige målgrupper) og er i hvert fald en interessant supplerende vinkel.

Carsten Søndergaard skrev:De er blot holdt op med at give hovedpersonerne strithår og kæledyr.

Frank Madsen skrev:[(som kaptajn Haddock stjæler Terrys rolle som joker og samtalepartner)?

Frank Madsen skrev:Er der ting, hunde kan, som egern ikke evner, eller er det Spirillen, der kommer ind fra højre og hugger alle de gode roller (som kaptajn Haddock stjæler Terrys rolle som joker og samtalepartner)?