By Rene Goscinny
0.2 x 8.5 x 11.2 inches, weight: 0.9 Lbs. - assortment Classique
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Extra info for Asterix Le Gaulois French
But within their limitations they used the camera for all it was worth . . you hadn’t heard of psychology, and drama, and art; you were developing the camera. . ”1 When thinking about serial film, we are likely to conjure images of Flash Gordon or the Lone Ranger—science fiction or western serials from the 1930s and 1940s, primarily directed to youngsters attending Saturday matinees. But the serials that Seldes is recalling in 1924 are in many ways a different thing altogether. The silent serial craze that began in 1912 and the “serial queens” who constituted the industry’s first stars have received little critical attention until 29 30 Chapter 2 fairly recently, for reasons pretty easy to gauge.
And for each image of the “sharp discontinuity” of modern life and the dangers of breakdown, there is a corresponding comic image which sees these discontinuities as eliciting not anxiety but humor, comfort, and new pleasures (Figure 6). These latter representations in the early comics have been all but invisible in the archeology of graphic modernity, but in fact, the comic does not “depict . . modern life as inherently unnatural and unhealthy,” nor is it primarily motivated by a criti- Figure 5.
48 Interestingly, however, this is not what happens in the film (Figures 10–11). Instead, here Happy has an extremely rare last laugh, as the policeman heads into the house to confront the woman who soaked him. 49 Of course, in a sense, the 19 20 Chapter 1 Figure 10. Happy Hooligan Interferes, directed by G. W. Bitzer (Biograph, 1903). Figure 11. Detail from Happy Hooligan, San Francisco Examiner, April 13, 1902. San Francisco Academy of Comic Art Collection, the Ohio State University Billy Ireland Cartoon Library and Museum.