Chapter 7


Jean-Baptiste Massuet, “L’Impact de la performance capture sur les théories du cinéma d’animation,” Écranosphère 1 (Winter 2014), online.

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Quotation taken from the site Bande dessinée, manga, comics.

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The quotation was found at the following address:, but the site is currently inactive. It is possible to download a PDF of a reproduction of the web page below.

“Plus de 3 millions d'entrées pour le Tintin de Spielberg”


Massuet, “L’Impact de la performance capture.”


Willoughby, Le cinéma graphique, 197.


A concept introduced by Philippe Marion in “Tintin façon Spielberg: Une nouvelle manière de penser le cinéma?” presented at the conference “The Impact of Technological Innovations on the Theory and Historiography of Cinema,” Cinémathèque québécoise, Montreal, November 2011. Forthcoming in Nicolas Dulac and André Gaudreault, ed., Du Média au postmédia: Continuités, ruptures [From media to post-media: Continuities and ruptures].


Peter Jackson, quoted by Alain Lorfèvre in “Spielberg et Jackson pour Tintin,” La Libre Belgique, May 16, 2007.

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Benoît Peeters, “Retrouver la ligne claire,” Cahiers du cinéma 672 (November 2011): 46.


For a more complete definition of mediagenie, see Philippe Marion, “Narratologie médiatique et médiagénie des récits,” Recherches en communication 7 (1997): 61–88.

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The article is accessible at the following address:


Marion, “Emprise graphique et jeu de l’oie,” 180.


We should recall that the agent of graphiation, which we discussed in Chapter 4 in the case of “cinematographiation,” is the particular enunciative agent that deploys the graphic material that makes up the monstration of the graphic novel and reflexively imparts to it the imprint of its singular creativity, the mark of its own style. See Philippe Marion, Traces en cases: Travail graphique, figuration narrative et participation du lecteur (1993), 30ff.


The graphiator is the agent responsible for the graphiation. See also Marion, Traces en cases.


A term used by Pierre Fresnault-Deruelle to underscore the legibility of the clear line, which conveys “only what tells (or is the most telling).” Pierre Fresnault-Deruelle, Hergéologie: Cohérence et cohésion du récit en image dans les aventures de Tintin (2011), 16.


Spielberg’s presentation of the film to journalists in Paris, July 20, 2011. Broadcast on the second French-language Belgian television network, RTBF.


On this topic, we refer the reader to André Gaudreault and Philippe Marion, “Transécriture et médiatique narrative: L’Enjeu de l’intermédialité,” in La transécriture: Pour une théorie de l’adaptation, ed. André Gaudreault and Thierry Groensteen (1998), 31–52.


Steven Spielberg, quoted by Alain Lorfèvre, “Spielberg et Jackson pour Tintin.”

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