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dc.contributor.authorDandridge, Eliza Bourqueen_US
dc.date.accessioned2014-03-14T20:36:48Z
dc.date.available2014-03-14T20:36:48Z
dc.date.issued2008-04-30en_US
dc.identifier.otheretd-05142008-162029en_US
dc.identifier.urihttp://hdl.handle.net/10919/32760
dc.description.abstractThis study examines the rise in popularity of the French comics series "Astérix le Gaulois" through a production-of-culture lens in an effort to uncover how industry evolution and organization, protectionist legislation, marketing, advertising, branding, and consecration by the media worked interdependently to catapult Astérix, the series' protagonist, into stardom by the middle of the 1960s. In so doing, this study forcefully argues that elements external to the text itself greatly facilitated, and in some ways determined, the series' quick and dramatic rise in popularity in France by 1966. The predominance of American and Belgian comics into the 1950s and the moral turn towards all things "100 % français" enabled the success of Pilote, the French-language, French-themed magazine launched in 1959 and in which "Astérix" first appeared. By the early 1960s, Pilote's faithful readership helped make the publication of "Astérix" in album format a resounding success. Simultaneous radio exposure and extensive product merchandising further promoted "Astérix" to a new, vast, and diverse comics market comprised of children and adults alike. Media consecration marked the final step in Astérix's meteoric rise in popularity in France. Institutionalization of the comics series by the national press during the 1960s transformed Astérix into an emblem of national importance, created celebrities out of the series' co-creators, and even helped legitimize bande dessinée, or comics, as a French cultural form worthy of "serious" consideration.en_US
dc.publisherVirginia Techen_US
dc.relation.haspartthesis_final_060308.pdfen_US
dc.rightsI hereby certify that, if appropriate, I have obtained and attached hereto a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby grant to Virginia Tech or its agents the non-exclusive license to archive and make accessible, under the conditions specified below, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also retain the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report.en_US
dc.subjectproduction of cultureen_US
dc.subjectappealen_US
dc.subjectpopularityen_US
dc.subjectbrandingen_US
dc.subjectAstérixen_US
dc.subjectcomicsen_US
dc.subjectbande dessinéeen_US
dc.titleProducing Popularity: The Success in France of the Comics Series "Astérix le Gaulois"en_US
dc.typeThesisen_US
dc.contributor.departmentHistoryen_US
thesis.degree.nameMaster of Artsen_US
thesis.degree.levelmastersen_US
thesis.degree.grantorVirginia Polytechnic Institute and State Universityen_US
dc.contributor.committeechairTeulon, Fabriceen_US
dc.contributor.committeememberEwing, E. Thomasen_US
dc.contributor.committeememberFarquhar, Sueen_US
dc.identifier.sourceurlhttp://scholar.lib.vt.edu/theses/available/etd-05142008-162029/en_US
dc.date.sdate2008-05-14en_US
dc.date.rdate2008-06-04
dc.date.adate2008-06-04en_US


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