Week 2: What is the alleged connection between Herge early comics and propaganda

In this blog, I will be discussing Herge’s early comics’ alleged connection to propaganda. In this, I will be mentioning Tintin.

Propaganda according to the Merriam- webster dictionary refers to propaganda as “the spreading of ideas, information, or rumour for the purpose of helping or injuring an institution, a cause, or a person. Or ideas, facts, or allegations spread deliberately to further one’s cause or to damage an opposing cause,” (Merriam- Webster dictionary, 2020). It is no secret that the man behind the name Herge, Georges Prosper Remi, held a conservative right-wing point of view (Mountfort, 2020) with him even in his later years refusing to accept the reading of Tintin as a possible member of the LGBT community (Mountfort, 2020). However, the question is whether he as Herge brought these beliefs and in some cases prejudices into his comics? If that is the case was it in a deliberate manner in order further early conservative and far right-leaning groups or to damage opposing causes to the far right?

In regards to Herge bringing his personal beliefs into his early work one does not have to look far, unfortunately, to find Tintin in the Congo a comic that played into many racist motif’s such as the depiction of the Congolese characters as having the large red lips as well as the depiction of Tintin, the white character, taking on a role of teacher to the uneducated natives(Herge, 1991). In regards to Herge stance on the political movement at the time one can look at the comic Tintin in the land of the soviets one could only describe this comic as Herge’s expressing his anti-Bolshevik point of view with his readers which would be putting it lightly with one of the panels depicting the soviet citizens attending their election while at gunpoint(Herge, 1989).

The question now becomes whether these examples were Herge’s deliberate attempt to spread the message of the far right-wing conservatives who then evolved into a fascist movement and the anti-Bolshevik movement. In regards to Tintin in the Congo, one notes the one-dimensional discussion of the realities of the Congolese people and the Belgian colonisation Tintin in the Congo gives a sanitised version of the horrifying reality in the Congo replacing those facts with a nice comic panel of Tintin educating the native Congolese children on their home country Belgium (Mountfort, 2020) and there is a chance Herge version of the story could have been effective in spreading the pro colonisation ideas however one can’t be too clear on whether it was deliberate or not. However, in regard to Herge spreading the anti-Bolshevik movement deliberately there is no doubt in it as Herge himself has admitted to this himself (Mountfort, 2012).

Tintin being a franchise that expands over multimedia and many decades has touched so many lives mine included. As someone who read graphic novels, comic books and anime the Tintin franchise was one of the first of its kind that I came across in the side of the kiddie of the library. I loved these adventures, in particular, Explorers on the moon (Herge, 1959) as I went through a period in which I was obsessed with anything relating to space. But just because I enjoy these comics and hold nostalgic feelings towards it doesn’t mean I am unable to separate my enjoyment from the blatant propaganda and racism within Herge work. Is Tintin enjoyable yes is the connection between these texts and propaganda also yes.

References

Herge(creat). (1991). Adventures of tintin in the congo. Brussels, Belgium: Casterman, Egmont.

Herge (creat). (1959). Explorers on the moon. London, England: Methuen.

Herge(creat). (1989). Tintin in the land of the soviets. Not available: Sundancer.

Mounfort, P (auth). (2020). Tintin: the franchise and hergé’s the blue lotus (1983; 1936). Retrieved from https://blackboard.aut.ac.nzwebapps/blackboard/content/ listContent.jsp?course_id=96250_1&content_id=_5273101_1&mode=reset

Mountfort, P. (2012). ‘Yellow skin, black hair … careful, tintin’: hergé and orientalism. Australasian Journal of Popular Culture, 1(1), 33 – 49. Retrieved from https://black board.aut.ac.nz/webapps/b lackboard/content/listContent.jsp?course_id=_96250_1&content_id=_5273101_1&mode=reset

Not available. (Accessed August 2020).”Propaganda.” merriam-webster dictonary. Retrieved from https://www.merriam-webster.com/dictionary/propaganda

Week 1 How has the academic reception of popular genres changed overtime? What might be the value of studying them?

For my first blog, I will be answering the questions “How has the academic reception of popular genres changed overtime? What might be the value of studying them?”  I will mention the marvel cinematic universe, harry potter series, the Lord of the ring’s series, and Veep the television series.

“Genre refers to a group of text that share certain similarities whether of form, performance context, or subject matter,” as said by William Allen (Allen, 2014). Popular genre refers to a grouping of more modern genres such as anime, science fiction, fantasy, film noir, and graphic novels (Mountfort, 2020). Though consumed and enjoyed by many, in forms of major blockbusters such as the marvel cinematic universe () or the harry potter series(Rowling,), the popular genre is often considered on the lower end of the genre hierarchy, with popular genres beginning its academic reception by being viewed as separate and lesser text when compared to other mega genres such as poetry and drama (Mountfort, 2020). Looking into popular genres there were and still are many expected stereotypical features attributed to a piece of the popular genre such as predictable plotting and two-dimensional characters (Mountfort, 2020). However, a shift has occurred with popular genre text now being included in literature programs, alongside texts on the higher end of the genre hierarchy, as well as being taught separately and a good example of this is the very paper I am currently writing this blog post for. Therefore, the change in the academic reception of popular genres is the fact that there is now a space within the academic field for it to be discussed within, something that wasn’t there when the genre itself first formed.

On the second question what might be the value of studying them? About popular genre the value in the studying of them I believe might stem from the very reasons for its “gradual acceptance in the academic field” (Mountfort, 2020). The look into the supposed popular genre stereotypes would allow for a great study into why these familiar beats resonate with such large audience, we can ask why orphaned male leads such as Captain America, harry potter and Frodo who then find themselves as the only one to be able to complete a task to save the world draw in such large followings when not many of the audience resembles these characters within these fictional worlds. While at the same time the study of why the antithesis of these heroes often garner similar amounts of praise such as Selina Meyers a female politician and her goal, like many of the characters in the show, to become president of the united states(). I would love to know to understand why I, as a teenager, found myself enamored by the story of this middle-aged politicians fight for a chance to be president when in reality voting for or even rooting for her would be a far from my thinking. It’s the question of the validity of the popular genre’s stereotypes and the question of why such large audiences are drawn to these texts gives just two of many reasons why I believe there is a great value of studying them.

Allen, W. (2014). Why literary genres matter. Retrieved from https://blog.oup.com/2014/05/why – literary-genres-matter/

Iannucci, A (creat). (2012). Veep [Television]. United States: HBO

Johnston, J (dir). (2011). Captain America: the first avenger [film]. United States: Marvel Studios

Mounfort, P (auth). (2020). ENGL602 popular genres. Retrieved from https://blackboard.aut.ac.nz/webapps/blackboard/content/listContent.jsp?course_id=_96250_1&content_id=_5273101_ 1&mode=reset

Rowling, J. K (writ). (1997). Harry potter and the philosopher’s stone. London: United Kingdom

Tolkien, J. R. R (writ). (1954). The lord of the rings. United Kingdom: George Allen & Co