{"id":134,"date":"2016-03-02T17:45:01","date_gmt":"2016-03-02T17:45:01","guid":{"rendered":"http:\/\/blogs.qub.ac.uk\/specialcollections\/?p=134"},"modified":"2024-05-07T14:50:14","modified_gmt":"2024-05-07T13:50:14","slug":"the-art-of-french-crime-fiction","status":"publish","type":"post","link":"https:\/\/blogs.qub.ac.uk\/specialcollections\/the-art-of-french-crime-fiction\/","title":{"rendered":"The Art of French Crime Fiction"},"content":{"rendered":"

 <\/p>\n

\"The<\/a>
The Art of French Crime Fiction Display<\/figcaption><\/figure>\n

Our new display, curated by Dr Dominique Jeannerod<\/a> (School of Modern Languages), features an exhibition devoted to classic French Crime Fiction\u00a0and\u00a0Suspense Literature\u00a0series.<\/p>\n

\"Store<\/a>The exhibition showcases some of the 1,500\u00a0Crime Fiction books in the French language which have been added to the collections, having recently been donated to the Library by the Paris-based\u00a0Biblioth\u00e8que des Litt\u00e9ratures polici\u00e8res<\/i> (BILIPO<\/a>) and other partners in the project Visualising European Crime Fiction. <\/em><\/p>\n

 <\/p>\n

This project,\u00a0 led by Dr Dominique Jeannerod, together with colleagues in the ICRH Research Group, International Crime Fiction<\/a>,\u00a0<\/em> was awarded a grant by the AHRC, as part of the Big Data in the Arts and Humanities Framework (2014-15).<\/p>\n

\"\"<\/a>The chief task of the Visualising European Crime Fiction<\/em> project was, as Dr Jeannerod explains,<\/p>\n

\"Le<\/a>“To develop innovative digital methods with which to bibliographically record (database) and visually present (Graphs, Maps, Dataviz) the innumerable volumes of Crime Fiction published across Europe since the early 20th<\/sup> Century. The aim in developing such new digital instruments was to rethink the significance of popular culture and its dissemination\u00a0in a globalised world. It was also to\u00a0reconsider the role\u00a0of crime fiction\u00a0in\u00a0a transnational, cultural and literary context.”<\/p>\n

“The present exhibition, based on a small sample of French \"Store<\/a>publishers\u2019 series from the 1950\u2019s and 1960\u2019s devoted to Crime Fiction and Spy thrillers gives an idea of the variety and attraction of these mass market publications, and reflects on their iconic cover art”<\/p>\n

 <\/p>\n

\"bookjackets2\"<\/a>“Graphic artists such as Aslan, Brantonne, Michel Gourdon and Jef de Wulf are associated with the series to which they contributed thousands of original drawings and to whom they lent a distinctive, immediately recognisable identity. Their work was celebrated by artists such as Jean Cocteau and their popularity usually surpassed that of the authors of the books they illustrated. The endlessly repeated themes and archetypes seen on these covers reveal to us to\u00a0 what extent these books were active agents in the \"book<\/a>dissemination of post-war mythologies. This should remind us that these, or very similar images were absorbed and appropriated, by whole populations across Europe, both as commonly available (and disposable) commodities, and as magical objects”<\/p><\/blockquote>\n

 <\/p>\n

Acknowledgements:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Dominique Jeannerod)<\/p>\n

Many thanks are due to the BILIPO and its director, Catherine Chauchard, as well as to Senior Librarian Samuel Schwiegelhofer, for their unique and indispensable collections and their enthusiasm and knowledge in sharing them. Many thanks also to St\u00e9phane M\u00e9nard, for the generous donation of hundreds of vintage volumes from his rich private collection, and to Isabel O\u2019Kelly of the McClay Libraryfor her unfailing support. I am also grateful to Philippe Aurousseau, Didier Poiret, Thierry Gautier, Jacques Chesnais, Federico Pagello, John Thompson, Daniel Magennis, Daniel Finlay, Annika Breining, Markus Schleich, Deirdre Wildy, David Gordon, Bronagh McCrudden and to all the colleagues and partners in the International Crime Fiction Research Group.<\/em><\/p>\n

\"The<\/a><\/p>\n

Fuller details of the Crime Fiction books featured in the display can be found below:<\/p>\n

Agapit, Marc Le Pays des Mutants<\/i> (Paris: E\u0301ditions Fleuve noir, 1971).<\/p>\n

Agapit, Marc Phantasmes<\/i> (Paris: E\u0301ditions Fleuve noir, 1962).<\/p>\n

Agapit, Marc Les Ciseau d\u2019Atropos<\/i> (Paris: E\u0301ditions Fleuve noir, 1973).<\/p>\n

Agapit, Marc L\u2019Antichambre de l\u2019Au-Dela\u0300<\/i> (Paris: E\u0301ditions Fleuve noir, 1970).<\/p>\n

Barner, Alex Vendu au FBI <\/i>(Paris: E\u0301ditions Galic, 1962).<\/p>\n

Becker, Beno\u00eet\u00a0 Dernier Contact <\/i>(Paris: \u00c9ditions Fleuve noir, 1955).<\/p>\n

B\u00e9raud, Mario La Maison Rouge<\/i> (Paris: E\u0301ditions Galic, 1963).<\/p>\n

Braun, Maurice-Georges Qu\u2019un Sang Impur <\/i>(Paris: \u00c9ditions Fleuve noir, 1957).<\/p>\n

Braun, Maurice-Georges La Belle et Satan<\/i> (Paris: \u00c9ditions Fleuve noir, 1953).<\/p>\n

Bruce, Jean O.S.S. 117 Contre X<\/i> (Paris: \u00c9ditions Fleuve noir, 1952).<\/p>\n

Certo\u0308n, Erik J. Un Drame de l\u2019Au-Dela\u0300<\/i> (Paris: E\u0301ditions Fleuve noir, 1960).<\/p>\n

Conty, Jean-Pierre Canal Street<\/i> (Paris: Presses de la Cit\u00e9, 1953).<\/p>\n

Cousin, Michel L’Enl\u00e8vement de Sabine<\/i> (Paris: Presses de la Cit\u00e9, 1963).<\/p>\n

Dazergues, Max-Andr\u00e9 Le Chemin des Idoles<\/i> (Paris: \u00c9ditions Galics, 1964).<\/p>\n

Didelot, Francis Bignon et les Nuits Blanches<\/i> (Paris: A. Fayard, 1964).<\/p>\n

Duquesne, Andre\u0301 Faux Poids et Demi Mesure<\/i> (Paris: Presses de la Cite\u0301, 1961).<\/p>\n

Ferny, Claude Sept Coups Au C\u0153ur<\/i> (Paris: Nouvelles Presses Mondiales, [1950]).<\/p>\n

Ferri\u00e8re, Jean-Pierre Un Diable Sur Mesure<\/i> (Paris: E\u0301ditions Fleuve noir, 1965).<\/p>\n

Kenny, Paul Coplan Contre-Attaque <\/i>(Paris: \u00c9ditions Fleuve noir, 1957).<\/p>\n

L\u00e9aud, Pierre Taxi Pour L\u2019\u00c9chafaud<\/i> (Givors: A. Martel, n.d.).<\/p>\n

Limat, Maurice Crucifie le Hibou<\/i> (Paris: E\u0301ditions Fleuve noir, 1961).<\/p>\n

Meroy, Martin Un Couteau Dans la Plaie<\/i> (Paris: Presses internationales, n.d.).<\/p>\n

Piguet, Roland L’\u00c9pervier Attaque<\/i> (Paris: Presses noires, 1965.).<\/p>\n

Piljean, Andr\u00e9 Corridor E <\/i>(Paris: E\u0301ditions Fleuve noir, 1956).<\/p>\n

Piljean, Andr\u00e9 P\u00e9ril Sur l’Ouest (Paris: E\u0301ditions Fleuve noir, 1954).<\/p>\n

Quint, Jimmy La Route Infernale<\/i> (Paris: Presses noires, 1966).<\/p>\n

Randa, Peter La Belle Amour <\/i>(Paris: E\u0301ditions Fleuve noir, 1967).<\/p>\n

Ropp, Mario Plus Facile de Mourir <\/i>(Paris: \u00c9ditions Fleuve noir, 1959).<\/p>\n

Ropp, Mario Jeu Sans Joie<\/i> (Paris: \u00c9ditions Fleuve noir, 1957).<\/p>\n

Saint-Moore, Adam Section de Recherches <\/i>(Paris: \u00c9ditions Fleuve noir, 1956).<\/p>\n

Sauvage, Guy Concile aux Balkans<\/i> (Paris: \u00c9ditions de l\u2019Arabesque, 1964).<\/p>\n

Vlatimo, Roger Le Temps des Rapaces<\/i> (Paris: \u00c9ditions de l’Arabesque, 1965).<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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