Albums, Cigars of the Pharaoh, Herge, Moulinsart

When I first read the news story I thought it was a joke. But as sure as today’s October 21st, not April 1st, these news come in all seriousness. Casterman and Moulinsart plan on creating one more Tintin album, and its release date is set for 2052. Wait, what?

But how? Why? Whatever happened to respecting Hergé’s wishes that nobody continue with the series? Well, I’ll post the article straight from Le Soir (or rather…from Le Soir through Google Translate. I’ve edited parts for clarity only, since I don’t know too much French, but, only at times, I know a little more than Google).  I didn’t fix everything, and some of the verb tenses are hard to straighten out, but you guys are smart…You’ll get the point.

 

In an exclusive interview with the Paris daily “Le Soir” and “The World” with Charlotte Gallimard, new director of Casterman and Mouchart Benedict, the new editorial director of the Franco-Belgian publishing house, Nick Rodwell, the head of Moulinsart, unleashed a scoop.In 2052, Casterman will be allowed to publish a new Tintin adventure, a year before Hergé’s work falls into the public domain.Nick Rodwell said that the mission of the heirs of the master of the clear line is to “protect and promote” his work. With this in mind, a new album will be the only way for him to prevent Bashibazoucks from making Tintin into everything and anything, 70 years after the author’s death.

During the meeting, Benedict and Charlotte Gallimard Mouchart also revealed the signing of a sponsorship agreement of the Hergé Museum in Louvain-la-Neuve and the publishing  next year of the “Secrets of Cigars of the Pharaoh ” by Casterman. This album celebrates 80 years of presence in the catalog Tintin Casterman. He will tell in pictures redesigned by Hergé Studios adventure published in black and white in 1934 to create the color album that we know today. Finally, Moulinsart and Casterman are also considering making a movie or a cartoon Jo Zette.

I’ll be honest, Tintinologists. I have very mixed feelings about this, but they are turning more and more negative the more I think about it.  Hergé didn’t want anybody making more Tintin albums. Tintin was his child, and for many years, Tintin literally took over the man’s life. To continue the series, especially so many years after his death, and still consider it official is really a bizarre and kind of uncomfortable idea. I agree with their intentions: I don’t want counterfeit Tintin’s to sprout up and turn Tintin into “everything and anything” either. But really, if that happens after whenever Tintin would become public domain, who does that really harm?

Such publications would fool nobody, especially 70 years after Hergé’s death. And honestly, as much as Moulinsart and whoever else wants to stop it, people already make Tintin into everything and anything. They just don’t easily get away with selling it. And while sure, some cases are “Tintin and Thailand”, many others are just innocent fan art. But nobody’s trying to say that those are official, “canonical” Tintin albums.

But Casterman and Moulinsart have everything to lose financially if they can no longer control who sells and markets Tintin. So in an effort to protect Hergé’s last wishes, they actually have to break them.

What I fear is that this may not become just “one extra album.” Fans will want more. Kids will want more. Compared with other comic books, 24 albums is a small number of adventures. And if the moneymakers can break the rules once, they may just break them again. I can just hear people ask, “After all the work it will take to produce that one super special album, why not take advantage of whoever creates it and let him make a few more?”

But for better or for worse, a lot can happen in forty years. Forty years ago Hergé was still making Tintin albums! What do you think, fans? Is this a good idea? Should we just wait it out and see? I wouldn’t expect too much news on this for a long, long time.

On the plus side, I think a Jo, Zette and Jocko movie would actually be a really good idea.

Sources:http://www.lesoir.be/344210/article/culture/livres/2013-10-21/un-sponsor-pour-musee-herge-et-un-nouvel-album-pour-tintin

Moulinsart

I love it when news gets strange.

Apparently Arvand Dashtaraia play-write from Tehran, has announced he is going to perform a play based of “The Adventures in Tintin.” The story will be original, called “Tintin and the Secret of Moundas Castle.”

Iranian dramaturge and dramatist Mohammad Charmshir has written the play based on “The Adventures of Tintin” collection written by the Belgian artist Georges Remi — Herge.

“I was interested in the Tintin books since I was a little boy. All of his adventures and curiosity have had a great influence on me, and I wanted to pay my debt of gratitude to Herge,” Dashtarai said in an interview.

 

I have no idea how the rights of this are being handled…or what Moulinsart thinks about this.

What do you think? Can this happen with (or without) Moulinsart’s approval? Does anybody want to see it?

Source: http://www.payvand.com/news/12/dec/1179.html

 

Herge, Moulinsart, Tintin, Tintin Merchandise

I found this on one of the Tintin Facebook fan pages. Apparently a Porsche decorated with Tintin and Snowy on the side one first place in a race in the Porsche Carrera Cup Asia 2012! It seems only appropriate, with Hergé’s love of cars and putting them in his albums, for Tintin to actually be on the side of a modern race car.

This leads to the inevitable question: what was Tintin doing on the side of a Porsche in Asia? And some of us familiar with Moulinsart might also ask: how did Moulinsart ever allow this? Relax. They didn’t just put it on the side of the car’s door because Tintin and Snowy look cool there (though they DO look cool there). Like most every other sticker on race cars, it’s an advertisement from a sponsor. To be precise, an advertisement for the Tintin shop in Singapore.  To me, it’s interesting that the shop felt it worthwhile to advertise their store (and it’s website) in these races, as it must have been rather expensive (not they don’t have the money). But I’m glad they did, and I’m very glad the car one.

Source: https://www.facebook.com/photo.php?fbid=10150930090251500&set=a.327760841499.163752.12936316499&type=1&theater

Casterman, Moulinsart, Tintin, Tintin in the Congo, Uncategorized

After four years of politics, the Belgian Supreme Court has finally come to the conclusion that Tintin in the Congo is not to be banned. While the content in the book would certainly have been deemed racist had a cartoonist published a similar work today, the tribunal has said that the Belgian law against racism can not apply to Tintin in the Congo unless it is clearly shown in the work that the intent of the author was to discriminate. ”Taken in the context of the 1930s,”said advocate M L’Hedim,”it is clear that Hergé had no such intent.” Allen Berenboom represented Casterman and Moulinsart in the case. ”It’s a sound decision and common sense. A work must be taken in context and compared with the information and stereotypes of the time.”

Congo, the world and the way people think have changed a lot since Tintin in the Congo was published. If you’re new to Tintin, just know that this one adventure, only the second Hergé ever did, is filled with stereotypes from the time that show the Congolese people to be very, very simple people. But every adventure after this is better, especially after The Blue Lotus. I do not believe Hergé had any harsh feelings whatsoever towards the people in the Congo, and while Tintin bosses them around and teaches them very very basic stuff, he does take their side and help them solve their problems with a white gangster-type criminal and a tribal-type witch doctor. Don’t buy into any of these articles online written just to sound like big news that say Tintin is racist (and by the way, he’s not Nazi either…).

If you have a child who just HAS TO HAS TO HAS TO HAVE every Tintin book and you are still afraid it will have a negative influence on him (which I seriously doubt), just explain to your kid that Hergé, and people in Belgium back then, were very misinformed when it came to both what was going on in the Congo and what the people were like. Teach them, if they don’t already know it from TV or school of just the fact that they are good, normal kids, that every human being, regardless of skin color, is equally human and to be treated on an equal level. Maybe even go out and donate a kilo of rice (or a large sum of money) to a non-profit organization or missionary, or something like that. I know of a missionary family down there, and from what I’ve heard about what the Congo is like today, they really could use all the help they can get.

Source: http://www.liberation.fr/culture/01012389189-la-justice-belge-refuse-d-interdire-la-vente-de-tintin-au-congo

 

 

 

 

 

Captain Haddock, Moulinsart, The Secret of the Unicorn, Thomson & Thompson, Tintin in Tibet, Tintin Merchandise, Uncategorized

About a month ago I was bummed out that McDonald´s was doing Alvin and the Chipmunks instead of The Adventures of Tintin, and mentioned that on this blog. I never dreamed I would get any thin out of it, but after reading my post somebody who occasionally comments on this site,Soheil, left me a message saying he had picked up a few and wanted to send me some! Of course I was thrilled and I promised him that, if he should send me those toys, I would definitely post about it. He was true to his word, and now I’m true to mine.

Soheil sent me three separate McDonald’s toys, all still in their plastic bags. The Thom(p)sons with a pencil and a ”briefcase” that folds out to write on, Captain Haddock with a frame that can hold puzzle pieces that make people’s faces, and Haddock’s spyglass with the Unicorn on the side. I felt just like a little kid again opening these and putting all the parts together! He even went so far as to send a few things not from McDonald’s, Red Rackham from the Moulinsart figurine collection! I was so glad to see that Soheil as I have a number of the figures in that series and it goes wonderfully with them on my shelf. The three new characters from McDonalds are just about the same size to stand next to them as well, and go together quite nicely. And finally, he even sent me two postcards, a very appropriate ”Secret of the Unicorn” album cover postcard, and a cool one made from a panel in Tintin in Tibet. I also have a collection of postcards framed on my wall, and these will go great with them!!! I’ve never seen the Tintin in Tibet postcard before for sale…

Thank you so much Soheil, I really was very, very excited when I opened this. It’s one of the best ”late Christmas presents” I’ve ever had. I love them all.

Here’s a picture of them all together. I had to upload the pic to another site (I’ve unfortunately uploaded more pics than wordpress can hold), and then copy and paste it into this one. I’m doing this on Google Chrome, so I hope other browsers can see it OK. Let me know if it’s not so.

Again, thank you Soheil! It’s great to see Tintinologists from all over the world comment on this blog and help each other out.

 

 

 

 

 

Albums, Herge, Moulinsart, Reviews, Steven Spielberg, Tintin, Tintin in the Congo, Tintin Movie News, Tintin on the Net

For those of you newbies to Tintin, he is such an icon that the Vatican’s official newspaper actually just recently wrote an article on him. Specifically, on the debate that’s been going on in court on whether or not to ban ”Tintin in the Congo” for racism. Now, one might think that just because of the Vatican’s very nature the article would certainly be defending those poor congolese people of the past that were portrayed far from accurately. But the author actually took the time to look at the facts of the article and has chosen to vigorously defend Tintin as his movie comes out around the world, stating that Tintin has been a good example of Catholic values throughout the ages. The article must be remembered and pulled out in the future to hopefully silence all of those foolish people that talk of Tintin being racist, gay, nazi,…you fill in the blank. The article is especially upset that Tintin in the congo has, in the UK, been ”wrapped up like a pornographic magazine and consigned to the adults-only section” of British book shops.

Like an excellent lawyer in Belgium at the moment arguing that the book is simply showing stereotypes from the time of Hergé, ”L’Observatore Romano” also holds to the obvious fact that ”Tintin in the Congo” is simply a reflection of its time, the fruit of a man who had never seen what Belgium was really doing there and only had false stereotypes to go on. We know how much effort Hergé put into researching his future albums, so it would be unfair to characterize hardly any of his other albums based on this one album. Furthermore, the African people, while certainly shown as unintelligent and naive people, are not even portrayed as villains in the story, but rather the gangsters Tintin deals with there. Tintin has nothing against these people and neither did Hergé. There is really nothing in the book that would lead anybody except the most sensitive of Congolese person to truly be offended by the book, and then that guy would probably just see how his people were drawn on the front and find some other comic to read (or take Moulinsart to court…). As the Vatican put it, ”The comic book was published in the 1930s, and for that reason expresses the values of the era – but can it really perturb young Britons of today, raised as they are on the Internet, video games and fish and chips?”

The Vatican praises Tintin’s character, calling him ”an angel” helping widows and orphans…Tintin is said to be driven by ”a sacred moral imperative – to save the innocent and conquer evil….Tintin is a Western knight of modern times, an unstained heart in an invulnerable body.” It’s great to see people still defending Tintin in the press. ”Le Soir” was a Catholic newspaper when Tintin was around, yet another reason that the Vatican would be pleased with kids reading Tintin. I myself am not catholic, but I certainly support kids reading about Tintin’s heroic virtues rather than all of the junk out there for them to read.

Interestingly enough, while the Vatican sings Tintin’s praises, one zealous worker in Lebanon tried to cover up Spielberg’s name from a Tintin poster. Circuit Empire, in charge of cinemas in Lebanon, commented that ”He knew that Spielberg was blacklisted and he took it upon himself to black out his name,” pointing out that this was not some movement of several men but just one worker. The name was quickly uncovered and the posters are still seen today. Of course this was nothing against Tintin, but it’s funny to watch how different countries react to big American films like this and how it affects Tintin’s release. I found it interesting they also commented that technically according to the strict laws in Lebanon Tintin should be banned, but due to the popular black market selling films the law would be impossible to implement and people are allowed to see it on the big screens.  There’s a unique piece of Tintin trivia you can remember and tell other Tintin friends in the future…

Sources: http://uk.ibtimes.com/articles/246045/20111109/vatican-banning-tintin-book-politically-correct-lunacy.htm

               http://www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=10765314

Moulinsart, Tintin Movie Cast & Crew, Tintin Movie News

It turns out the new photos from the filming of the Tintin movie I reported on the other day are not so new after all.

According to regular readers Sam and Proman, these have been out for a while and originally appeared on Tintin.com. Somehow I had missed then when they first came out and despite having looked twice, I still cannot find their original appearance.

Note: The photos below are copyright to someone, probably the production company behind The Adventures of Tintin: Secret of the Unicorn or Moulinsart.

Tintin Movie filming (c)Tintin.com

Tintin Movie filming (c)Tintin.com
Tintin Movie filming (c)Tintin.com
Moulinsart, The Red Sea Sharks, Tintin in Tibet

The creator of Alix and numerous other bande dessinee has died aged 88. In the fifties he worked for Herge’s studio and was responsible for some of the background in Tintin in Tibet.

One of Hergé’s most important assistants through the 1950s and 60s (notably on the South Sea Sharks and Tintin in Tibet) and one of the pillars of Tintin Magazine, he acrimoniously struck out on his own in 1972 to concentrate on his own comics, which in some ways owed more to the other great master of Belgian adventure comics of the time, E. P. Jacobs.

Source and Copyright: MetaBunker Jacques Martin RIP

Enjoying success in his own right after his creation Alix sprang from the pages of the Tintin magazines to become its own brand, Strasbourg-born Martin plundered Imperial Rome, Egypt and the Napoleonic era for the backdrops to his stories.

Source and Copyright: The Independent Alix creator, Tintin artist Jacques Martin dies aged 88

Alix was a historic comic set around the time of the Roman Empire, travelling the known world at the time. He also created the comic Lefranc in 1952 and collaborated on the medieval architect comic Jhen in 1978, the French revolutionary officer Arno in 1984, Athenian Orion in 1990, Egyptian Keos in 1992, and Loïs in 2004, set in the court of Louis the sun king of France. Alix has continued publication to this date, though due to failing eyesight, Martin delegated artistic duties from Rafeal Morales from 1998.

Source and Copyright: Bleeding Cool Alix Creator Jacques Martin Dies, 88

Moulinsart

The owners of Tintin have made an official comment on copyright as an indirect response of the persecution of Tintin fan Bob Garcia. Unfortunately they have completely misrepresented the law of copyright as it stands in the UK and most of Europe.

Some maintain that Moulinsart keeps an iron grip on the rights it has acquired; on the contrary, we are the first to respect the freedom of expression. We have never prevented anyone from writing a book about Tintin, or any other aspect of Hergé’s life and work. We have total respect for authors!

If the author of a book about Tintin wants to illustrate it with pictures or photos taken from the work or life of Hergé, then it is only normal that we ask to read the manuscript first. This is also simply a basic freedom.

If a book is lacking quality or is intentionally negative, it is quite normal for us to feel that we shouldn’t allow the reproduction of frames taken from Hergé’s books, or drawings the author realised: if we were to allow the use of such images, we would give the impression of supporting the work in question….

Every year, hundreds of requests to use one or a number of pictures by Hergé are authorised, … In 2009, less than 10 requests were turned down: … We clearly inform those who would like to use one of Hergé’s drawings about certain rules which they are expected to honour.
(c) Moulinsart

Moulinsart are misrepresenting the law here.

Fair Dealing allows producers of books and other works to incorporate copyright images WITHOUT THE OWNERS PERMISSION. An author does not need seek permission from Moulinsart. An author does not need to send Moulinsart a copy of their work to get it approved. All an author needs to do is ensure that the use of copyright material is limited to a reasonable amount and acknowledge the copyright holder’s ownership.

This does not mean that anyone can grab a picture of Tintin and use it to sell their product. Fair Dealing only applies to reporting and critical analysis. I can use the copyrighted text above without asking permission only because I am analysing what they have said. This legal right places no restrictions on the quality of my work. This article could be rubbish or completely hostile to Moulinsart and I would still enjoy the legal protection of Fair Dealing as long as I limited the text I quote to a reasonable amount.

It is the question of “What is reasonable?” that Bob Garcia appears to have run foul of.

There is no defined legal limits as to how much can be used under Fair Dealing. It could by 10% or it could be 90% depending on the circumstance. Reproducing 100 words from a 200 word article is different from reproducing 100 words from a 100,000 word book.

The use of copyrighted materials also has to be relevant. I can quote the article above because it is relevant to the subject but I could not scatter this article with images of Tintin because they would not be relevant.

What is reasonable is a highly subjective issue and this is where authors and publishers get into trouble.

In the Bob Garcia case, it appears that he was right on the border between acceptable and unacceptable usage. When Moulinsart first sued, Mr Garcia won the initial case based on the idea of Fair Dealing. However Mounlinsart appealed and won.

No one is saying that Moulinsart should not protect their intellectual property rights. No one is saying that everyone should be able to use Tintin images to sell their products. What people are saying is that bankrupting a Tintin fan like Bob Garcia for producing a pamphlet in good faith is heavy handed and mean spirited.

Source: Tintin.com Copyright: the latest from Moulinsart.

Moulinsart

Thanks to Boing Boing picking up a two month old article in the Daily Telegraph, Moulinsart’s persecution of Tintin fan Bob Garcia has become a hot topic.

Bob Garcia published two short books about Tintin that included copyrighted images that Mr Garcia used under the concept of Fair Dealing / Use. Moulinsart sued and initially lost, the judge upheld Garcia’s claim that the use of these copyrighted works was acceptable academic practice. However, Moulinsart appealed, Garcia lost and was presented with a £35,000 bill.

Unable to pay the bill and facing bankruptcy, Bob Garcia hoped to make some accommodation with Moulinsart and at first it look promising with Moulinsart making a statement on the situation. “We had the intention to find a solution. It is now discussed between lawyers”. According to Garcia, Moulinsart’s lawyers have never made any attempt at contact.

Since then the bills have continued to pile up for Mr Garcia. Just before Christmas he received a bill for €8000 from his lawyers.

To get a taste of Bob’s work, watch this short video of him being interviewed about the book. It is worth watching even if you don’t speak French, just to see the sort of images that Moulinsart think are a breach of copyright.

Show your support for Bob by joining his Facebook group.