A:It is believed that previous works of Hergé’s 'conformed to the pictures or cliché’s held in the 1920-30’s' (Farr p.51) of society, which is why when The Blue Lotus was released, its realism and accuracy was a big draw card.
Following the urgings of a priest who was chaplain to Chinese students, Hergé made contact with a sculpture student by the name of Chang Chong-chen who helped him develop a love of China and encapsulate the true China in his Tintin adventures, rather than just succumbing to the (what would now be considered as racist and terribly controversial) stereotypical China of the time.
Hergé looked ‘further for pictures of the real China…with Chang supervising the representation of vases, furniture, screens and wall hangings.” (Farr pp.51-52).
The politically allegorical ‘The Blue Lotus’ is also noted for ‘skillfully…camouflaging” (Farr p.54) the contemporary politics of China by incorporating these issues heavily into the storyline.
The politically allegorical ‘The Blue Lotus’ is also noted for ‘skillfully…camouflaging” (Farr p.54) the contemporary politics of China by incorporating these issues heavily into the storyline.
I think this Tintin adventure is great in the way it has such a heavy storyline with such a political agenga, but still manages to appeal to a child audience who religiously follow (but remain naïve to the underlying ideologies of the work) Tintin’s story of journey and adventure.
References
Farr, M. (1991) Tintin: the complete companiom. London: John Murray.
Hergé. (2005; 1935). The Adventures of Tintin: The Blue Lotus. London: Methuen.
Well said! And I agree.
ReplyDeleteI love how the graphic novel has the ability to appeal to both adults and children, using image and narrative to portray both intellectual and humorous messages. Herge meets both the need to educated with the want to be entertained.