FESTIVAL DE LA BD D ANGOULÊME 2019

At France’s bien sur d’Angoulême: Barcelona’s Bang Ediciones et Mamut manga

In Feature éléments by transporter AndersonJanuary 29, 2020


An independent publisher native Barcelona, Stéphane Corbinais sûr his manga house must be at Angoulême—or ‘you don’t exist’ in auto bande dessin world.

Vous lisez ce: Festival de la bd d angoulême 2019


A shoot from an exhibitor display screen being collection up à la the opening du the 2020 fermé International ns la bande Dessinée d’Angoulême. Image: fibd video


Porter_Anderson

For the Buyer: ‘A de nombreux of Choices’On Thursday (January 30), the 47th edition of the annual Festival International aux la bande Dessinée d’Angoulême, Europe’s most influential exhibitions ns comic and other graphique storytelling content.

*
Less than deux hours northeast ns the town de Bordeaux, the town of angla in November was formally designated a member-municipality du UNESCO’s an imaginative Cities program, and France’s to adjust of culture has called 2020 auto country’s “Year de the bande dessinée Strip,” offering special power to the festival, that is presenters, et visitors this year.

Angoulême most likely is le meilleur known internationally, in fact, parce que le its celebration ns the form, et this année has announced the its four days will entendu more 보다 350 events, based in 14 focal length exhibitions. There space authors and illustrators pitching your work to publishers, several récompenses programs, exhibitions of work, musique programming, et more.

Rights center conferences have begun today (January 29) v “An Assessment du the International manga Strip Market” and “From Paper à Screen: Spotlight on the nouveau Challenges du Audiovisual Adaptation”—all closely paralleling, ns course, thé accelerating impact that streaming video breakthroughs are having nous so numerous parts of publishing.

The festival’s media message reports that growth de the humour strip market in la france in 2019 is approximated to ont come in at part 10 percent, and in 2018, auto country’s industrie published at the very least 5,298 new releases et new editions. Drawing on data from livres Hebdo, BIEF, and SCELF, angoulême organizers say that international rights venir 3,958 comic books were sold de French publishers in 2018 and that comic livre translation accounted for 17.7 percent of toutes les personnes translated regard work in france in 2018.


A display conditions météorologiques the Hachette pavillon is being collection up in this shot indigenous a advancement video à la the 2020 fermé International du la banda Dessinée d’Angoulême. Image: fibr video


In words- (and pictures) to-screen terms, ont many as 50 film and/or television adaptation of French bande dessinée have been fabriquer between 2016 et 2019, bien sur organizers say.

All this has resulted in some 75 exhibitors coming to the dur this year, together with 2,000 industry professionals from 35 countries. A special expert program has année invitational cohort du 21 non-French publishers that will it is in on-hand venir consider make purchases. That coporation, groupe of invitees is from 13 markets.

*
So abondance and complex is auto sector du comics and graphic fiction et nonfiction becoming that we’re pleasure to ont had année interview v Stéphane Corbinais, thé founding chief du one ns Angoulême’s 2o20 show exhibitors, thé dual Bang Ediciones & Mamut des bandes dessinées on the nouveau World stand at N19. Une reason he has a strong first-person sense à la where the marché is today et may it is in going is the Mamut serves auto children’s et YA consumer base, if the original Bang produces content for adults.

Corbinais started Bang in 2004, et followed with Mamut in 2010. And our interview has been facilitated, specifically in translation, passant par Tel Aviv-based agent stéphanie Barrouillet du the SB rights Agency.

We start our exchange with Corbinais par asking whether his twin houses Bang and Mamut, focus on manga for thé younger consumer et graphic novels and nonfiction parce que le adults. And in asking, nous run ideal into thé terminology issue, which of arttasters may be easier parce que le a single publisher to handle than cette is for année industry that needs categorization to classify et organize its products.

Talking about Comics and Graphic Storytelling

Stéphane Corbinais. Image: Bang Ediciones


Stéphane Corbinais: It’s an interesting question oui it deals with semantics.

Today in France, Spain, the USA, et probably in divers countries, terminology appears venir avoid bande dessinées or des bandes dessinées or tebeo. We talk around a roman graphique, a graphique novel or novela gráfica, to raise thé profile ns this new de lart form that appeared in thé 20th century and to move away native the la peinture most people oui had ns the genre, the they’re à la kids jaune freaks.

At Bang Ediciones, we don’t make any kind of distinction and we think that bande dessinée is bande dessinée et that there’s a bit for everyone—humor, adventure, intimate, engaged pour adults et for children. Bande dessinée is the only sector in thé publishing industrie that’s cultivation worldwide. It’s now année established art in certain evolution. Thé choice today parce que le a buyer is complex given the multitude of choices, cible that’s a good emplacement to it is in in.

Voir plus: Etat De Sante De Bouteflika Actuellement, Abdelaziz Bouteflika: Une Santé Très Précaire

Publishing Perspectives: je vous demande pardon trends can amie see developing over 15 or so year you’ve remained in operation?

SC: When nous launched our collection Mamut in 2010 in Spain, bande dessinée to be really for children in people’s minds, but toutes les personnes the livres from alternatives publishing dwellings were targeting année adult audience.

This paradox provided us thé idea à create livre for youngsters with modern authors. Conditions météorologiques didn’t have an immediate success with consumers, but professionals—in particular librarians—welcomed ours initiative.


Titles in thé ‘Super Potato’ series parce que le children de Artur Laperla


PP: What have been your effective titles over the years? Can tu give us one example parce que le children and one parce que le adults?

SC: auto title pour adults the has worked the meilleur for nous is Mox Nox, released in 2013. It’s fabriqué up du wordless spreads—six boxes effronté page—acid and absurd humor and a naïve style.

*
The success to be immediate and very unexpected. Auto title first took off on social networks—the visual et silent elements du the stories nous one à côté de could be common worldwide. Unfortunately, our connection with the author to be unpleasant. Luckily our flawless connection with Artur Laperla let nous enjoy the adventures du his “Super Potato” series, Super Patate, the greatest success in our table des matières for children.

For auto last nine years, we’ve to be publishing one livre a year et it’s analyzed into Italian et English. Our children list, organized by ages, has had a parcelle of success in Spain. In France, it’s more complicated because the market is really established. Having actually said that, our Mamut 3+ collection does very well, a standout since we’re one du the couple of publishers venir offer textless comics for youngsters from the age of 3.

PP: quel trends are conditions météorologiques likely à see most during 2020 in manga for children et for adults?

SC: This year and in years to come, we’ll most probably see the bande dessinée become an art kind that stands nous its own. Si the 20th century was good à la the novel, thé 21st century will be good for the bande dessinée, in marche because of the carré that visuellement imagery is taking in our world and the truth that children are much more exposed to images than words.

“The fermé is a must parce que le us in France, even si we don’t constantly cover our investment. Si you nothing go, people think amie don’t exist.”Stéphane Corbinais, Bang Ediciones

PP: comment does the angoulême festival impact your work and the industry?

SC: The bien sur is a must for us in France, even if we don’t constantly cover our investment. Si you don’t go, people think tu don’t exist. But it’s also année opportunity à see exhibitions and to meet people including étranger publishers, to expand our with internationally.

PP: What’s the most difficult difficulty faced passant par a publishing company like yours?

SC: After 15 year in the business, the toughest marche is over. Ce takes time to be recognized in thé publishing world at auto beginning when une has limite resources and année empty address book. However, it’s crucial even today to reinvent ourselves tous the time.

More 보다 5,000 nouveau titles space released in france every year. Even si there are an ext readers, a de nombreux of title fall de the wayside.

The big publishing dwellings are aware ns this and they flood thé bookstores, leaving limite space parce que le the others. Si you’re not current in bookstores you won’t sell. Luckily, readers space curious et found nous through au lieu de, remplacer channels conditions météorologiques which we work actively.

‘Immersed in a World de Images’

PP: Is your henn competition est différent independent publishers like tu or super major houses and comics producers?

SC: rivals vary depending conditions météorologiques titles et collections. Our competition is very abondance and because of this our ability to adapt and respond is crucial. Beyond this, we try à keep in entente what drives sales: publishing livre that we’d amour to find, ourselves, in bookstores.

“Rivals vary depending nous titles et collections. Our competition is very abondance and as such our ability venir adapt and respond is crucial.”Stéphane Corbinais, Bang Ediciones

PP: oui we see more and more consumers buying and reading comics and graphic novels, what aller you think is encouraging them? Is cette the visual storytelling du film and television?

SC: The nouveau generations space immersed in a world of images. Because the invention of television, cette hasn’t stopped, et some children today can barely review a text du more 보다 30 lines. Cible within a second, they can read année image.

PP: faire you exhibit at other festival or livre fairs?

SC: We’ll attend several fairs in France and Spain this year. We choose where to aller depending nous the la nature of thé fairs, their creative choices, et management. Nous like to aller where the organizers want us to be there. Conditions météorologiques feel it’s de nombreux to have année event that’s no purely commercial marqué also a place to meet personnes with common interests. We’d love to have more time et money to je suis en attente major international livre fairs where one can uncover surprising projects et meet passionate people.

Voir plus: Film Portrait De La Jeune Fille En Feu, Portrait Of A Lady On Fire (2019)

PP: Lastly, what’s her personal connection to this kind de content? Did amie grow up reading bande dessinée or did elle find them later in life?

SC: oui a enfant at mien grandmother’s house in Brittany, I tons discovered Tintin and Obélix titles the belonged to mien father. Ns read lock over et over and then review Gaston Lagaffe, Spirou, heureux Luke, and a parcelle of fantasy: L’ l’Incal, La quête du l’oiseau ns temps, all of Bourgeon’s work and of artaserse Thorgal—in fact, anything je could find.

In mien 20s, ns stopped when i went to university et moved to Spain. Eight years later i reconnected with bande dessinée when je met Jean-Christophe López, the publisher ns 6 Pieds entre Terre, that introduced moi to his catalogue and the new scene of bande dessinée, known oui “independent.”