Slavery, the Elephant in the Room: Myth-making about the United States’ Uncomfortable Past

Cinema, Inter-ethnic relations, Popular Culture, Regional History

When human rights principles buttressed by international law took root, slavery in both its traditional and modern forms became ever more of a dirty word in First World societies like the US. Little wonder then that faced with the stark realities of such a repugnant and vilified practice staining their own country’s history, some might seek to lay a euphemistic guise over the unpalatable nature of the institution.

Texas, 1835-36 (Source: texashistory.unt.edu)

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“Involuntary relocation”, denial, whitewashing?
One topical example of this involves Texas and its long and vexed relationship with slavery. A conservative group of Texas educators in 2022 proposed that schoolchildren should be taught about the state’s history of “involuntary relocation”, which enables teachers to neatly avoid the dreaded word “slavery” altogether (on the pretext that references to slavery might be too confronting for the tender ears of small children). Needless to say this attempt “to blur out what actually happened in that time in history” has been heavily criticised by progressive historians (‘State education board members push back on proposal to use “involuntary relocation” to describe slavery’, Brian Lopez, The Texas Tribune, 30-Jun-2022, www.texastribune.org)ⓐ.

The Alamo, San Antonio (Photo: age fotostock)

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Texas creation myth
Conservative groups in Texas have good reason to try to bury the spectre of slavery as the institution is very much connected to the state’s most sacred historical symbol, the Battle of the Alamo in 1836. The traditional Alamo story—brave American freedom fighters against the far superior forces of tyrannical México, their heroism inspiring the (Anglo-led) Texians under Sam Houston to achieve independence—is ingrained on the consciousness of all Texans and all flag-waving Americans…it is in fact a story central to the creation myth of Texas. The defenders of the Alamo, so the conventional Anglo narrative goes, made the ultimate sacrifice for liberty. The heroic Alamo myth has been reinforced by fictionalised screen versions of the Alamo’s leaders: Davy Crockett, Jim Bowie and William Travis come across as courageous martyrs for the Texians’ cause (largely thanks to Walt Disney and John Wayne)…in reality they were far from lily-white, Crockett was a slaveholder and an unsuccessful politician who resorted to buying votes, and his glorified death at the Alamo as portrayed on the screen—going down valiantly fighting “evil” Méxicans to the very end—was a fiction (first-hand accounts verify that Crockett surrendered and was executed). Bowie and Travis were both slave traders and the morally dubious Bowie also made a living through smuggling. Hardly 19th century model citizen stuff (Bryan Burrough, Chris Tomlinson & Jason Stanford, Forget the Alamo: The Rise and Fall of an American Myth, (2021)).

The Alamo according to the John Wayne movie

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Slaveholder rebellion, Manifest Destiny, American exceptionalism?
Similarly, the traditional view of why the American colonists revolted—because they were supposedly being oppressed by a tyrannical regime in Mexico City—is at variance with the inconvenient facts. American colonists came to Mexico’s Tejas with the purpose of making money through from cotton, the only viable cash crop in the territory at that time. For this to happen, black slave labour was a necessityⓑ. Once the Texians declared their independence in 1836, the centrality of slavery in the new republic became even more apparent with the institution being enshrined in the Texas constitution. Numbers of slaves in the republic grew exponentially, doubling every few years in the period from 1836 to 1850ⓒ. By 1860 slaves made up nearly one-third of the state’s population. As James Russell noted, rather than being “martyrs to the cause of freedom” as claimed, the defenders of the Alamo could more truthfully be tagged “martyrs to the cause of freedom of slaveholders”(‘Slavery and the myth of the Alamo’, James W. Russell, History News, 28-May-2012, www.historynewsnetwork.org)ⓓ.

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Slavery, mythology and the Civil War
When I went to school in the 1960s I learned that slavery was the cause of the American Civil War, clear and simple, the Southern states wanted to retain the practice and the Northern states wanted to end it. But in the US itself there has been no such consensus. As early as 1866 the defeated South had cobbled together its own, alternate narrative for America’s most costly war.

The post-bellum myth portrayed a society of happy, docile slaves and benevolent masters as conveyed in the classic film Gone With The Wind

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“Lost Cause of the Confederacy”
Southerners depicted the Civil War as a noble “lost cause”, romanticised its soldiers (Robert E Lee the chivalrous Christian gentleman) and constructed a pseudo-historical myth that the war was all about states rights, not slavery, the South was just protecting its agrarian economy against Northern aggression, trying to defend its way of life against the threat posed by the powerful industrial North. In reality, when South Carolina, the first of the Southern states to secede, did so in 1860, it complained that the national government had refused to suppress the civil liberties of northern citizens (ie, its failure to halt Northern interference in the South’s slave industry) (Finkelman, Paul (2012) “States’ Rights, Southern Hypocrisy, and the Crisis of the Union,” Akron Law Review: Vol. 45: Iss. 2, Article 5.
Available at: https://ideaexchange.uakron.edu/akronlawreview/vol45/iss2/5).

Confederacy based on the principle of white supremacy
The Confederacy’s (CSA) philosophical underpinnings rested on an unquestioned sense of white supremacy and black subservience, bolstered by pseudo-scientific ideas of race gaining traction at the time. Suffrage was a right afforded only to CSA’s white males. The South fought to safeguard its “right to hold property in persons”, and to do so in perpetuity (‘The Confederacy Was an Antidemocratic, Centralized State’, Stephanie McCurry, The Atlantic, 21-Jun-2020, www.theatlantic.com).

Slaves in the cotton field (Artist: John W Jones)

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ⓐ it didn’t go without notice that this development is occurring at a time that Tejanos (Texas Latinos) are poised to become the majority in the Lone Star state

ⓑ the government for its part had originally invited American migrants to Méxican Texas to populate the vast province and to counter the indigenous peoples, especially Comanches and Apaches, who freely raided and plundered Méxican settlements and ranches

ⓒ fulfilling the founder of Anglo Texas Stephen F Austen’s prediction that the Texas Republic would become “a slave nation”

ⓓ Burroughs et al dismissed the Texas Revolt as “a sooty veneer of myth and folklore”

Unconsummated Hitchcock: “The Short Night”, the Auteur’s Unrealised Final Fling at Making a Bondesque Film

Biographical, Cinema, Popular Culture
Source: art.com
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ROTUND, sardonic Anglo-American auteur Alfred Hitchcock’s oeuvre comprised over 50 feature films but he was no stranger to unfinished or unrealised film projects. Starting with what was meant to be his directorial debut in “Number 13” (AKA “Mrs. Peabody”) in 1922, for the next 57 years Hitch was at the helm for upward of twenty aborted films. Hardly any of the score of unmade movie projects ever got beyond the pre-production stage[1̲̅].

Alfred’s hitch in making ‘Hamlet’
There were various reasons why the films never got made…difficulties in location (Walt Disney, the man, not the corporation, wouldn’t let Hitchcock film ”The Blind Man” at Disneyland supposedly because of his disapproval of Psycho); Hitch’s dissatisfaction with scripts[2]; Hitchcock’s ”Titanic” project was waylaid by a string of obstacles including objections from the British shipping industry; some projects were vetoed by producers and studio heads; Hitchcock couldn’t get the female lead he wanted for ”No Bail for the Judge” (Audrey Hepburn)[3]. Hitch’s great success with The 39 Steps prompted him to try to direct film adaptions of other John Buchan novels featuring spy Richard Hannay, eg, ”Greenmantle”, however he couldn’t afford the rights to the book. He even wanted to direct Shakespeare, his enthusiasm to do a modernised version of Hamlet (with Hitchcock favourite Cary Grant cast as the “Melancholy Dane”) was ultimately blunted by the threat of a lawsuit from a writer who had already penned a modern-day version of Shakespeare’s great tragedy (‘Every Unmade Alfred Hitchcock Movie Explained’, Jordan Williams, Screen Rant, 12-Jun-2021, www.screenrant.com).

The final project pursued by Hitchcock was ”The Short Night”—based on a novel of the same name by Ronald Kirkbride and on the exploits of real-life double agent George Blake—which was to be Hitchcock’s red-hot crack at making a “realistic Bond movie”. In an interview with John Russell Taylor for Sight and Sound Hitchcock outlined the story’s great allure for him: ”It’s a situation that fascinates me: the man falls in love with the wife of a man he’s waiting to kill. It’s like a French farce turned inside-out. If he sees a boat coming across the bay with the husband on it, he can’t hop out of the back window, he has to wait and do what he has to do. And of course he can’t take the wife, who loves him, into his confidence. And so the whole romance is overshadowed by this secret, which gives it a special flavour and atmosphere. That’s what I want to convey”.

Poster for the movie that never materialised
Originally conceived in the late 1960s (after two uninspiring earlier Hitchcock Cold War espionage features Torn Curtain and Topaz were coolly received), the director scouted locations in Finland. Hitch wanted the “real deal”, Sean Connery, to play the Bondesque double agent protagonist, the director must have been keen on the film…while the project was still parked in pre-production, without anything about the movie being nailed down, Hitch had a poster designed for the movie (‘Alfred Hitchcock’s unrealized projects’, Wikipedia). Alas, scripts were again a problem, Hitch churned through a bunch of writers and a number of different treatments in the search for the ‘right’ script, but an even bigger problem was Hitch himself! Now 80, Hitchcock‘s health was failing badly, he was unfocused and listless on the set[4], he simply was no longer up to it. Towards the end of 1979 Hitchcock quietly retired from the business and ”The Short Night” project was shelved for good.

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[1̲̅] Hitchcock managed to shoot only a few scenes of “Mrs. Peabody”,before a lack of budget brought the production to a close

[2] the prickly and demanding Hitchcock had fractious relationships with his scriptwriters, he even fell out with his favourites like Ernest Lehman (over Family Plot, contributing to Hitchcock ditching “The Wreck of the Mary Deare” and starting work on the espionage classic North by Northwest

[3] Hitchcock’s uber-creepy obsessiveness with many of his leading ladies (Grace Kelly, Tippi Hedren, Ingrid Bergman among others) has been well documented, eg, Spellbound by Beauty, Donald Spoto (2008)

[4] ”moving in and out of senility” in the view of the last screenwriter parachuted into the project, David Freeman

Accounting for James Bond’s Enduring Mass Appeal

Cinema, Creative Writing, Literary & Linguistics, Media & Communications, Popular Culture

🇬🇧 🔫 🇬🇧
The phenomena of James Bond in both book and movie form was meant to be purely escapist entertainment, bereft of the slightest pretension that they were anything remotely cerebral. Interesting then that Bond has gleaned so much serious academic enquiry and analysis over the years. A sample of articles on JSTOR reveals a feast of scholarly entries on the subject of James Bond — “Shaken, Not Stirred Britishness: James Bond, Race, and the Transnational Imaginary”, “The Marketable Misogyny of James Bond“, “Paradoxical Masculinity: James Bond, Icon of Failure”, “Why James Bond Villains Prefer Post-Soviet Architecture”, “The Spy Who Loved Globalization”, ”How safe do you feel?: James Bond, Skyfall, and the Politics of the Secret Agent in an Age of Ubiquitous Threat”, and so on it goes.

The James Bond film franchise is certainly sui generis among English-language movie series. October 5 this year marked the 60th anniversary of the introduction of James Bond to cinema screen audiences (Dr No, 1962), and the cinematic sequence remains as yet unbroken, notwithstanding ”the elephant in the room” of last year’s No Time To Die in which the indestructible James Bond actually dies! Virtually all other elongated movie series have ultimately reached a natural (or unnatural) termination point – even the long-running, prolific and increasingly unimaginative Carry On comedy series ran out of steam by the Eighties 🄰.

Ian Fleming ‘Casino Royale’, 1st 007 novel (Image: bondfanevents.com)
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Box office El Dorado
Over a six-decade period the 25 movies🄱 constituting the James Bond industry made by Eon Productions (Broccoli and Saltzman’s production company) have earned a total somewhere north of US seven billion dollars. Boosted undoubtedly by the mass popularity of screen Bond🄲 the James Bond spy novels written by former WWII naval intelligence officer Ian Fleming, on which the cinema franchise is based, have themselves racked up sales of more than 60 million copies.

If you came anew to the Bond movies looking for a healthy dose of gritty social realism based on the world of espionage a la John LeCarre, you’d be sadly disappointed. The franchise’s entries are all about fantasy and high-adventure escapism. Unlike the shadowy cloak-and-dagger characters that the real world of spies and secret agents (apparently?) inhabit, James Bond 007 in his public persona is an open book, he doesn’t use a fake name, he doesn’t try to disguise his appearance or furtively hide in dark corners. He’s direct, brash, brutal and recklessly undisciplined in his actions and antics, with a propensity to be easily distracted from the assignment at hand by the happy prospect of a spot of horizontal folk-dancing.

Though wildly successful at the box office over an extraordinarily long shelf life, James Bond is not everyone’s cup of tea. An early critic Judith Crist described the series’ first vehicle Dr No as “an updated comic strip of the Fu Manchu school, fast moving, faster shooting, utterly fantastic”. JB has been pilloried by feminists for his unrepentant chauvinism—especially in Sean Connery and Roger Moore’s interpretations of the character—and four decades of “Bond Girl“ objectification of women. The backlash against JB’s misogyny compelled producers to tone down the blatant sexism in the most recent incarnation of the most famous of all British secret agents played by Daniel Craig. Bond has also been excoriated as a “thug trained to wear a tuxedo”…007’s “license to kill” green-light unleashes the agent’s deep predilection for perpetrating extreme, lethal violence in cold blood.

Predictable Bondery
Then there’s the plots! The storylines are more than fanciful…James Bond’s arch-villains hatch mind-bogglingly ludicrous schemes which suggest that they have been maxing out on the Kool-Aid – such as nuking Fort Knox’s gold reserves; constructing a massive capsule-gobbling rocket to capture the space crafts of both superpowers; detonating explosives along the Californian fault lines to destroy Silicon Valley; ad nauseum. The franchise has also been lambasted for being BORING! Agent 007 has been called out for living “the same story over and over” (Elizabeth Winterhalter). Repetition is a constant motif…we see Bond right on cue rendezvous with a typically crotchety “M” to be briefed on his latest world-rescue mission, flirting with Miss Moneypenny in their regular tête-à-tête ritual, and getting a rundown on the very latest weapon gadgetry from an equally irascible “Q”. In every second scene, just about, JB is pursued by a posse of miscellaneous henchmen only to miraculously escape certain death by the barest of margins every time. The movies almost invariably end in the same formulaic fashion: Bond infiltrates the arch-villain’s impregnable lair, triumphs over the likes of Blofeld and Goldfinger and numerous assorted henchmen, and finishes by bedding his leading lady on an inflatable dingy, in space, a balcony, etc and signing off to “M” with a corny double entendre🄳.

Bond with “Jaws”, larger than life henchman turned ally

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Cultural relevance to the West
Some Bondphiles have an altogether different take on this Groundhog Dog trait in James Bond of repeating the same basic plot structure infinitum…they see it as a key ingredient of the franchise’s success: ”the simplicity of the plot arch allows the films to seamlessly transcend and become culturally relevant to the audience” (‘What is the Secret of James Bond’s Eternal Success?’, www.undandy.com). Another explanation of James Bond’s allure contends that the fictional MI6 spy instantly resonated with Western audiences in the climate of the Cold War, being seen as a kind of antidote to the prevailing morass of the social order (especially in the US). 007’s talent as a fixer of “global crises” casts him in the guise of a saviour salvaging the world from an inevitable downward spiral into chaos and discord (‘James Bond and America in the Sixties’, Drew Moniot, JUFA, Vol.28, No.3, 1976). Moniot also attributes JB’s popularity in America to the existence of a vacuum of real-life heroes in 1960s society, the emergence of 007, a mythological hero who was invincible, fulfilled that psychological need at that time.

British Bond and foreign Blofeld

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Vicarious🄴 charm of the bon vivant lifestyle
Part of the appeal lies in the character of James Bond. Fleming visualised 007 as fit, sensual, with superior grey matter and a technical wiz, a model of “red-blooded heterosexuality”. He also emphasises Bond’s “Britishness” in the novels, JB’s 100% success rate on missions and in the romance stakes presents Bond as representing the “Best of British”… Fleming’s idea of an antidote to the sad realities of a declining Britain denuded of empire. Leaving aside the ever-present mortal danger to his very existence, Bond leads “a ridiculously good lifestyle (by) any man’s standards”🄵(Undandy), his appearance is akin to a “GQ cover model”; an endless supply of the best alcohol (which the MI6 agent knocks back with worryingly frequency); the best cars (trademark Aston Martin DB5); his apparently irresistible sex appeal to women (‘Bond by rules’, Tim Brayton, 2012, www.alternateending.com). As crime doyen Raymond Chandler neatly put it, “Every man wants to be James Bond and every woman wants to be with him”.

Tropeville central
Aside from JB’s personal magnetism, the series’ catalogue of recurring tropes helps to cement the franchise’s appeal. Familiar ingredients include the default opening sequence depicting 007 in action through the prism of a gun barrel; over-the-top hi-tech gadgets; a smorgasbord of diverse exotic locations; a brisk cocktail of action stunts (car chases, boat chases, ski pursuits, etc); the centre-stage presence of the Bond Girls and of a megalomaniacal arch-villain mastermind; all eagerly anticipated by James Bond‘s legion of rusted-on fans. Also adding value and lustre to the films are the high quality title-songs – like the utterly unforgettably iconic Goldfinger theme, and not far behind that Shirley Bassey classic, Live and Let Die, Diamonds Are Forever, and You Only Live Twice, etc, etc.

Bond, tapping into the zeitgeist of the day
One (insider) view on the longevity of James Bond comes from those at the helm of the multi-billion dollar franchise today, Cubby Broccoli’s daughter Barbara and his step-son Michael Wilson. Broccoli’s heirs attribute the success to the family having managed to keep hold of the franchise’s reins throughout its entire history, and to JB’s and the franchise’s adaptability, 007 being able to change with the times🄶 (‘Why James Bond Has Endured For So Long, According to the Franchise Producer’, Joshua Meyer, Film, 8-Dec-2021, www.slashfilm.com).

Footnote: James Bond, books v films
The early
James Bond movies kept pretty faithful to the plots of Ian Fleming’s crime thrillers, however as the series went on, the screen adaptations bore increasingly less resemblance to the novels (eventually everything except the Fleming titles were jettisoned). Other differences relate to the protagonist himself, 007’s proclivity for terminating with extreme prejudice (and without a skerrick of compunction) the various henchmen aligned against him increases tenfold from the books to the movies, as does his appetite for sexual conquests whilst on the job. Another point of departure from the novels for the films is the lack of story continuity from one picture to the next (eg, Bond in a grieving state at his wife’s murder at the end of On Her Majesty’s Secret Service doesn’t get a mention in the follow-up Bond feature).

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🄰 probably the closest to it is the Star Wars franchise (1977 to the present)

🄱 there was in addition one non-Eon Bond film, Never Say Never Again, a Taliafilm production

🄲 even Bond’s snobbish swipe at the Beatles in Goldfinger at the height of Beatlemania in 1964 didn’t dent his appeal with the public

🄳 with one or two notable exceptions…On Her Majesty’s Secret Service ends with the death of Mrs James Bond and No Time To Die ends with the death of 007 himself

🄴 in creating the overachieving superspy Fleming was in fact acting out his own vicarious impulses…endowing 007 with the sort of ideal, action-man hero lifestyle that the writer dreamt of

🄵 one writer characterised it as “elegant lifestyle porn” (Brayton)

🄶 one example: in the rebooted Skyfall (2012), the film and JB concern themselves with the very real and very contemporary threat of the ubiquity of the internet and cyber-terrorism

Hergé and Tintin, the Turbulent Afterlife of a Legendary Comic Strip

Cinema, Creative Writing, Memorabilia, Popular Culture

Mention the topic of classic European comic strips and the names Astérix and Tintin spring instantly to mind. Previously I delved into the stupendous comic book institution that is Astérix the Gaul in the blog ‘The Astérix Series: High Comic Art with a Few Dark Shadows’ (19 November 2022). The Tintin comic strip shares with Astérix the same high pedestal of best-selling popularity, enduring iconic status and attendant cult following. Tintin is a boy reporter❶ of unspecified age with a distinctive (carrot) blond quiff of hair and trademark plus-fours who embarks on numerous adventures to exotic locations accompanied by his companions: a white wire fox terrier Snowy (Fr: Milou), Captain Haddock the good-hearted dipsomaniac seafarer and Professor Calculus, a genius if absent-minded inventor. Since the publication of the first Tintin comic book in 1929 total sales of Tintin books have clocked up more than 200 million copies, with an appeal that reaches both adults and children❷.

Hergé with a cinematic clone of his fictional boy hero

Graphical style
Tintin’s creator wrote and published under the name of Hergé (real name: Georges Remi)…the Belgian cartoonist pioneered a distinctive drawing style for comic strips which later became known as Ligne claire (“Clear line”) (coined by Dutch cartoonist Joost Swarte in 1977). This comprises ”uniform strong lines, flat saturated colour” and “clearly delineated shapes and volumes” (‘The Afterlife of Tintin’, Jenny Hendrix, LA Review of Books, 27-Dec-2022, www.lareviewofbooks.org).

Blighted by propaganda, racism and chauvinism
Tintin was instantly and massively popular right from the cartoon’s onset—boosted by Hergé’s innovative use of speech bubbles, an American invention unfamiliar to the European comic scene at the time—despite this the comic has garnered its fair share of flak as has Hergé, the author. The first three books, Tintin in the Land of the Soviets, Tintin in the Congo and Tintin in America, in particular drew the ire of critics. The first with its unsubtle anti-communist message was much disparaged as “cheap right-wing propaganda for small children” (Harry Thompson, Hergé: Tintin and his Creator (2011). The Congo and America books were pilloried in some circles for blatantly racist depictions of native populations. The youthful Hergé, swayed by a conservative Catholic upbringing, was very much a creature of the time and his crude depictions of the Black African tribes in particular reflected a prevailing Eurocentric sense of superiority and prejudice. Tintin Au Congo praises the virtues of colonialism and missionaries and expresses a wholly patronising view of the local Africans who are portrayed as primitive, lazy and infantile❸ (‘Hergé’, Lambiek Comiclopedia, www.lambiek.net). Another criticism of the Tintin comics is the charge of sexism, women are almost completely erased from the stories – the one female figure with anything like a steady presence in the books is operatic diva Bianca Castafiore who is portrayed unflatteringly as foolish and imperceptive (Hergé pointedly is on record as saying women have no part in the stories which “are all about male friendship”).

In the early Sixties there were 2 French-made film adaptations of Tintin
Other discordant voices against Tintin’s author surfaced during the Nazi occupation of Belgium during WWII. Hergé worked for collaborationist pro-Nazi newspapers Le Petit Vingtième and Le Soir and elements of Anti-Semitism emerged in his presentation of Jews. Unfortunately it didn’t end with the war, Jewish racial stereotypes also reappear in postwar Tintin stories, eg, Vol 714 pour Sydney (‘Flight 714 to Sydney’).
A parody by Belgian cartoonist Dubus depicting a captive Tintin begging businessman Rodwell for his liberty (Source: Sydney Morning Herald)

”Kidnapping” a children’s icon?
Since Hergé’s death in 1983 Tintin’s artistic providence and the author’s estate has been rigidly controlled to the nth degree by his widow Fanny Vlamynck and her second husband Nick Rodwell. Hergé’s heirs through their management firm Moulinsart S.A. Moulinsart spearheaded by an unflinching Rodwell have obsessively pursued a crusade, suing everybody who uses Hergé or Tintin’s name or image without their permission. Not content with cracking down on bootleggers, plagiarists and copyright infringers, perversely they have targeted Tintin parodists, students, collectors, fan clubs, comic stores and people auctioning original artwork as well. They even tried to block journalists from taking unauthorised photographs at the Hergé Museum opening event (Lambiek). Individuals subjected to Moulinsart’s trigger-quick lawsuits include a French novelist who reproduced a drawing of Tintin in a book with a print run of only 200 copies and an elderly artist (and friend of Hergé) who painted the image of Tintin on some old bottles (‘Meet Nick Rodwell, Tintin heir and least popular man in Belgium’, Julien Oeuillet, Sydney Morning Herald, 30-Oct-2015, www.smh.com.au). Bart Beaty, a professor of comics at the University of Calgary, described Moulinsart as being “relentless in the protection of the Tintin copyrights even to the point of discouraging academic study of the Tintin books” (‘Moulinsart Lost A Legal Case At The Hague Over Tintin Rights’, Comics Reporter, 08-Jun-2025, www.comicsreporter.com). Other detractors including Hergé’s nephew have pointed out how under Moulinsart‘s direction “a hero dedicated to children has become the lynchpin of a profit-minded machine that is stifling the enthusiasm of Tintin admirers“ (‘Fans of Tintin cry foul’, Stanley Pignal, Financial Times, 08-May-2010, www.ft.com).

Moulinsart have mined the full depths of Tintin’s merchandising potential, many spin-off items priced at the luxury high-end

Genootschap (Source: www.hergegenootschap.nl/)
A small win for Tintinphiles and Tintinologists
The pattern shifted a few years ago when Moulinsart and Rodwell’s attempt to prosecute a small Dutch fanzine of Tintin Hergé Genootschap (Hergé Society (or Fellowship)) for including Hergé’s strip in its newsletter backfired badly❹. In a surprise twist a Dutch court in 2015 ruled that a 1942 contract between Hergé and his publisher Ediciones Casterman presented by the defence gave Casterman, NOT Moulinsart, the rights to publish the 22 Tintin albums. The right “to exploit extracts of the books and pictures” however still belong to the Hergé heirs (‘Tintin and the Copyright Mystery, Carolina Sánchez, Lady Trademark, 06-Oct-2015, www.ladytrademark.blogspot.com).
Fmr Australian prime minster Kevin Rudd satirised as Tintin

Endnote: Imitating Tintin
Parodies and pastiches satirising Tintin have been around since the 1940s. When Hergé compromised his reputation by publishing (Tintin) in a collaborationist-run Belgium newspaper” in war-time, it provoked a satire of Tintin, ‘Tintin au Pays des Nazis’ (‘Tintin in the Land of the Nazis’). Other parodies featuring Tintin include as a disaffected working class English youth who turns to political radicalism; ‘Tintin in Lebanon’ and ‘Tintin in Iraq’, embroiling Hergé’s “golden boy” in the intractable maze of Middle East conflicts; ‘Tintin in The Shire’, Tintin as a stereotypical Sydney bogan, etc.❺

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❶ though he acts more like a detective, investigating crimes and mysteries and at times carries a pistol and even makes arrests

❷ according to Tintin’s publishing house the books are marketed for “the youth between 7 and 77 years old” demographic

❸ to his credit Hergé did redress some of the crude and xenophobic representations of the earlier books in Le Lotus Bleu (‘The Blue Lotus’, 1934-35) in which Hergé depicts China and the Chinese people with more accuracy and evenness (Lambiek)

❹ Rodwell’s attempt to sue a French artist who did mash-ups of Tintin and Edward Hopper paintings was also thrown out of court with the judge determining that the artist’s works were legitimate parodies of Tintin which was fair game

❺ “most of these parodies would probably have remained obscure curiosities, if it weren’t for Moulinsart’s active attempts to hunt the makers down, giving them more publicity” (Lambiek)