Tintin Movie

Not a lot happening on the Tintin Movie front at the moment. Filming due to start in September, cast not yet announced sums it all up. However, Tintin remains a cultural force, cropping up all over the place.

Bartholome Marquez, the new manager of the Espanyol football team has joined a long list of people, including politicians, to be nick-named Tintin: New adventure for Tintin

On the Tintinologist forum, Pharaoh spotted an interesting plot twist that was lost in the translation into English: Tintin in America: Bad News

Finally, blogger Jordan Hurder, explores his own fascination with Tintin and makes a few pointed observations.

4. In German, Tintin is called “Tim.” Why do they have to be so efficient?

…

7. Tintin is supposed to live in the real world, yet he does things that are clearly impossible. In one adventure, he’s stranded in the jungle with only elephants as his company (elephants to whom he relates with polite detachment). To communicate with them, he picks up a tree branch and handily uses a pocketknife to carve it into a giant trumpet that he then uses to approximate the sound of elephant speech. (Aside from the impossibility of approximating elephant speech, there is also the obvious difficulty of hollowing out a 4-foot solid branch of wood using a two inch pocketknife.) The scene where he asks the elephant to spout water out of its trunk so he can shower under it has to be seen to be believed. Also, he showers in his boxers, presumably because Herge didn’t want to show nudity. But is there a bigger secret being hidden here? In another episode, he kills an ape, cuts off its head, and puts its skin on like a suit in order to blend in with the other apes. And it’s not supposed to be gross at all. Gross.

Source: Tintin, Your Flipped up Tuft of Hair is the Least Curious Thing About You

Is Tintin really going to use a that cat-o’nine tails on someone? More importantly, where did this scene, created by Herge and longtime Tintin illustrator Bob De Moor, appear? Only The Ephemerist has the answer

The Pompidou Centre in Paris has accepted a Tintin strip to be part of its permanent collection. The first comic strip to be included in the gallery.

An original black and white strip, signed by Tintin’s Belgian creator Herge and donated by his widow Fanny Rodwell, comes from the 1956 story, The Calculus Affair, the 18th of the Tintin adventures.



Pompidou contemporary art museum curator Benoit Peers said that the donation could lead the way for the acquisition of more comic strips.



“One can say that Herge remains a pioneer and that Tintin, once again, has shown the way.” he told Le Figaro.

From: Tintin enters Pompidou Centre’s modern art collection in Paris

This is the page in question, I believe, though in black & white and presumably in French.

Charles Burns, one of the most disturbing comic artists / illustrators has a portfolio of work out by United Dead Artists that includes this familiar image:


For comparison I thought I would put up the original image and I was amazed at how close Charles Burns’ version is to the original. Try comparing the locations of the rocks. I then noticed something about The Shooting Star. The cover is a redrawn version of one of the panels.

The Shooting Star Cover Art Work

Final Panel of Page 51

It makes sense for the artwork to be redrawn for the cover but my surprise is a naiveté left over from my childhood when I would look through the books finding the frame they had used for the cover. One more precious childhood memory destroyed by the bitter reality of adulthood.

VFX World have a long article on The Virtual Rebirth of Cinema examining the background an technology of films such a Beowulf and the Tintin Movies.

The dawn of a new “virtual filmmaking” age is upon us. Sparked by the pioneering work of Bob Zemeckis on The Polar Express and Beowulf and amped to the extreme to create a realtime director-centric workflow by James Cameron, Rob Legato and team for the upcoming Avatar, this new evolution of the filmmaking process is energizing the Hollywood industry. Having worked on a couple of these bleeding-edge film projects (Avatar, Tintin) with many of the industry’s’ leading filmmakers, artists and technicians has allowed me to witness and contribute to the development of this new virtual filmmaking system that will likely lead the moviemaking process over the coming decades. The virtual filmmaking process is an amalgamation of traditional filmmaking, CGI, visual effects pipelines, previs workflows and realtime computer gaming technology. Virtual filmmaking combines the best parts of all of these previous traditions in a unique way to create something immensely useful and creatively liberating for the director and other artistic team members. Although I can’t elaborate on the specifics of any one system, I’d like to briefly touch on the technological progression toward the virtual filmmaking revolution in general and point out some of the innovations of this new system.

Check out Gazpachot’s blog for surreal imagery including this Tintin / Titanic comparison.

Meanwhile, On Jon’s Random Acts of Geekery, he has a a guide to drawing Tintin.

Two of my favourite characters going face to face.

This fantastic image was created by Malcolm McClinton who does a lot of fantasy and SF based art.

Kate Beaton is a comics creator with a very odd sense of humor and style. Check out her web site for lots more comics but this one jumped out.

Thanks to the Repartee in the LJ Boy Reporter community for spotting this.

Tom McCarthy’s 2006 book, Tintin and the Secret of Literature is reviewed in the Los Angeles Times.

In France in particular, Tintin became a cottage industry, his exploits fodder for philosophers, psychoanalysts and literary critics, all of whom McCarthy leans on in asking, “Is ‘Tintin’ literature?” He notes the “huge irony . . . that the ‘Tintin’ books remain both unrivaled in their complexity and depth and so simple, even after more than half a century, that a child can read them with the same involvement as an adult.” But the question of whether they’re literature is not as interesting now, given the ascendance of pop culture. McCarthy seems to admit as much when he tweaks his query slightly: “As soon as we ask if ‘Tintin’ should be treated as literature, we raise another question: what is literature?”

From: ‘Tintin and the Secret of Literature’ by Tom McCarthy

Alexis Peskine, a Parisian artist of Afro-Brazilian and Lithuanian Jewish background has done some very interesting work exploring the contradictions in French society. Especially the racism and prejudice against immigrants from former colonies. Inevitably he has tackled Tintin.

The work is called “Tintin and your Kids” and depicts Tintin as skinhead. In the background a Congolese flag lies barely visible on a large stack of tires.

Peskine’s inspiration is drawn from what he regards as an overarching paradox in French society that symbolically awards French identity to all those who accept its norms while at the same time harboring prejudice toward immigrants from France’s former colonies. “It is illegal in France to perform a census that collects ethnic information,” Peskine said during an interview in his studio in Hoboken, N.J. “This idea came from long before immigrants ever arrived in France. There is a denial that there is ethnicity and race within Frenchness.”

From: French-Bred