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Werke von Jean-Marc Lofficier

The Nth Doctor (1997) — Autor — 86 Exemplare
Tintin (Pocket Essentials) (2002) 62 Exemplare
Batman Nosferatu (1999) — Autor — 53 Exemplare
Superman's Metropolis (1996) — Autor — 44 Exemplare
Moebius Arzach 1 (2000) 30 Exemplare
The Blue Amazon [Wonder Woman] (2003) — Autor — 17 Exemplare
Moebius Arzach PB (2004) 14 Exemplare
Shadowmen 2: Heroes and Villains of French Comics (2004) — Autor — 7 Exemplare
The Many Faces of Arsene Lupin (2012) — Herausgeber — 6 Exemplare
Doctor Omega and the Shadowmen (2011) — Herausgeber — 5 Exemplare
Elsewhere Prince 01 (1990) — Writer — 4 Exemplare
Alone in the Dark (2002) 3 Exemplare
Tongue Lash. Rifugio (1999) — Autor — 3 Exemplare
Elsewhere Volume 1, Number 2 — Writer — 3 Exemplare
Arsene Lupin: 813 (2015) 3 Exemplare
The Shadow of Judex (2013) 2 Exemplare
Tales of the Shadowmen 13 (13) (2016) 2 Exemplare
The Ice Company (2010) 2 Exemplare
Barbarella Holiday Special (2018) 2 Exemplare
Crépuscule vaudou (2008) 2 Exemplare
Tongue e Lash: O Dente da Serpente (1999) — Writer; Autor — 2 Exemplare
La Ronde de Glorvd (2020) 1 Exemplar
L'Almanach des Vampires 2 (2015) 1 Exemplar
L'Almanach des Vampires (2014) 1 Exemplar
French Tales of Cataclysms (2022) 1 Exemplar
Strangers in a Strange Land (2014) 1 Exemplar
The Katrina Protocol (2008) 1 Exemplar
Witchblade : Serment de sang (2004) 1 Exemplar
Action Comics # 579 (1986) 1 Exemplar
Arsene Lupin: 813 1 Exemplar

Zugehörige Werke

Die hermetische Garage (1979) — Übersetzer, einige Ausgaben247 Exemplare
Die Rache des "Heiligen" : e. klass. Kriminalroman aus d. Jahre 1930. (1930) — Vorwort, einige Ausgaben240 Exemplare
Bahnhofstraße 120. Rue de la Gare. Bd. II. Bildergeschichte (1943) — Übersetzer, einige Ausgaben191 Exemplare
Doctor Omega (1906) — Übersetzer, einige Ausgaben20 Exemplare
The Forbidden Book, Volume 1: Journeys Into the Mystic (2001) — Mitwirkender — 20 Exemplare
The New Who Programme Guide (2015) — Vorwort — 5 Exemplare
Bhang n.18 - Settembre 1991 — Autor — 1 Exemplar

Getagged

Wissenswertes

Geburtstag
1954-06-22
Geschlecht
male
Nationalität
France
Geburtsort
Toulon, Var, Provence, France
Beziehungen
Lofficier, Randy (wife)

Mitglieder

Rezensionen

The origins of this book, its organization, and even the deficiencies of its index are similar to The Handbook of French Science Fiction. Both books cover works produced in French by non-French writers, and, in fact, that’s much truer of this book since it concentrates on the rich tradition of Belgium fantasy and horror written in French. In fact, the only writer to get his own section in this volume is Belgium Jean Ray. (Coverage of him was one of the main reasons I bought this book.)

The origins of French fantasy are what you might expect: medieval romances and ballads and poetry and religious dramas. But it received its own unique stamp from several other things: some of the first publications of famous fairy tales, the Tales of the Fey often produced under pseudonym by female aristocrats, and occult and esoteric texts. The latter are so important that the Lofficiers carry coverage of them throughout the whole book, and French works of that sort (like the ones that inspired The Da Vinci Code and Jacques Bergier’s and Louis Pauwels’ The Morning of the Magicians) have become international bestsellers.

The Age of French Proto-Fantasy moves into fantasy literature as we know it today with the nineteenth century, a period which would see several notable authors like Honoré Balzac, Victor Hugo, and Anatole France dabble in the genre. It also was influenced by foreigners, especially the English Gothic which became the roman noir in France. John Polidori’s The Vampyre, translated into French in 1819, kicked off a major enthusiasm for works centering on that supernatural entity. It was at this time a distinction would arise between two sub-genres -- fantastique populaire and fantastique littéraire. Some of the authors here, like Alexandre Dumas and Paul Féval, made their reputation as writers of feutilleton, serialized novels published in newspapers.

Starting in the 1820s, under the influence of E. T. A. Hoffman, a fantastique romantique movement developed. Under the influence of Edgar Allan Poe, a fantastique réaliste emerged. Less tied to metaphysics than Hoffmanesque works and emphasizing math and science, it was more respectable for the literati. Towards the end of the nineteenth century, decadent fantasies, also known as fantastique symboliste, started appearing.

In between the world wars, surrealistic fantasy made its appearance.

In the era of the 1950s and 1960s, the lines between the popular fantasist and the literary fantasist started to blur. There was also the presence of writers associated with the Grand-Guignol and film also made itself felt.

Folklore, both national and regional, was an important influence, particularly among Belgium writers.

The pace of the coverage picks up – and the retention in my mind faded – starting with the 1970s. I was unaware that a French version of Black Coat Press exists as a revival project. Oddly, I found at least one instance of a Black Coat Press translation of a work not listed as a footnote as they usually are. It’s title also was translated differently from their publication.

Fantasy in literature was often associated with crime fiction, and French fiction can boast both the first literary superhero, various mad scientists, the first masked supercriminal, and such long running super criminals as Féval’s Black Coats, Marcel Allain’s and Pierre Souvestre’s Fantômas, and the Sinister Mrs. Atmos, a Japanese scientist determined to have her vengeance on America for nuking Hiroshima and Nagasaki. The Lofficiers also cite Charles Lomon et Pierre-Barthélemy’s Les Atlantes, Aventures des temps légendaires (The Atlanteans: Adventures in Legendary Times) from 1905 as the “first great epic fantasy novel of the 20th century”. Its authors were two librettists who drew from motifs in opera,

While there is not a lot of biographical material here, there is a bit. I was, for instance, surprised to learn that Guy de Maupassant, author of the classic “The Horla”, ended his days in a mental asylum – where he believed he was being stalked by invisible creatures.

This is a good overview of its subject. In fact, it’s the only English language one that I know of, and, if you’re interested in these French genres, you will find something of interest.
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RandyStafford | Mar 2, 2023 |
In 2000, McFarland published the Lofficiers’ massive 800-page tome entitled French Science Fiction, Fantasy, Horror and Pulp Fiction: A Guide to Cinema, Television, Radio, Animation, Comic Books and Literature from the Middle Ages to the Present. In 2003, Black Coat Press was founded by the Lofficers to publish, for an English-speaking audience, some of the works they talked about.

Recently, they’ve reworked and reorganized that volume into four books that have started to be published by Black Coat Press.

This book is 315 pages of text and an index – more on that later.

Organized chronologically, the book starts with the 1500s and goes through 2000. While there is a bit about French science fiction after that year, the Lofficers say they made no real attempt to extend their original coverage of their subject.

After a chapter on utopias, most of the following chapters are divided into “Journeys to Other Worlds” (space or alternate dimensions or dream worlds), “Journeys to Other Lands” (earthbound tales of lost races, utopias, and science and technology), and “Journeys to Other Times” (future tales, alternate histories, and time travel) sections. Some chapters add sections on major authors, notable authors, publishers, young adult titles, publishers, and mainstream authors who also produced science fiction. Only Jules Verne gets his own section.

I read this book cover to cover and found must of it interesting. It was only toward the modern periods with their abbreviated lists of authors and descriptions that my eyes started to glaze over.

Many major works get enough of a description to pique your interest, and footnotes give the ISBNs of all the referenced works that have been issued by Black Coat Press. The coverage of an author or theme doesn’t always neatly stay in the chronological borders assigned its chapter.

The broad outlines of French science fiction were known to me up to 1950, the stopping point of Brian Stableford’s The Plurality of Imaginary Worlds, so Lofficers’ coverage of the next 50 years was all new to me. The Silver Age of 1950 to 1970 saw a massive introduction of translated American science fiction into France. While the period was one of ‘rebirth, growth, and consolidation”, French science fiction found its themes and “modes of expression” dominated by American examples of the genre. The 1970s saw the French New Wave in science fiction and the pollicization of the genre. The number of published works greatly expanded until the mid-1980s.

There may have been a much larger number of titles – but many sold poorly. The 1980s saw a retrenchment of more traditional works that sold better. Gone were many of the literary experiments and political works. The publishing boom in science fiction had ended. The 1990s saw a modest recovery of the field and more titles issued. As of today, science fiction publishing in France exceeds all other non-Anglo countries’ in Europe printed (if you take Germany’s Perry Rhodan titles out).

In a long tradition of science fiction scholarship, the Lofficiers, as champions of French science fiction, note the many cases where it was the first to develop certain fictional conceits and themes or significantly develop them.

Things that stuck out in my mind as unique to French science fiction is the number of mad scientist stories or stories just dealing with the allegedly strange psychology of scientists. Medical doctors frequently show up with mad or dangerous schemes. Early romans scientifiques also have way more off-Earth voyages than the English scientific romance or early American science fiction. French science fiction definitely has a lot of works dealing with socialism and anarchism. It also has a fair number of proto-superhero stories.

I should add that this book covers all French language science fiction, not just that published in France.

The book showed me Black Coat Press has published a lot more post-1940 titles than I thought.

So, if you’re interested in French science fiction and just want a book you can look up a period of interest or one of the many authors listed in the index . . .

Well, you could do that if the index wasn’t such a mess. I won’t bore you with specific examples, but I will note there are several page numbers indexed that go beyond those 315 pages of text. So, if you are looking at this as strictly a reference book you’ll just dip into now and then, you’re going to be frustrated.

Even with that, I’m happy I read this one and think it will be useful for future research – even if with that index.
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RandyStafford | Jan 28, 2023 |
https://nwhyte.livejournal.com/3537950.html

This is the story of several film treatments for Doctor Who written between 1987 and 1994 by Mark Ezra, Johnny Byrne, Denny Martin Flinn, the not-yet-disgraced Adrian Rigelsford, John Leekley and Robert DeLaurentis. Apart from Rigelsford, these are all serious writers with serious records, and it's interesting to see how the pressures of cinematic production and consumption formed what now seems the inevitable Philip Segal end product of 1996. Various plot elements came and went - one can see some threads emerging in New Who of both the RTD and Moffat eras; some of the outlines are clearly a four-part TV story written as a film script. It's interesting that the one-off female sidekick and the streetwise kid sidekick became established at a relatively early stage. My jaw dropped at the brief involvement of Leonard Nimoy, which I don't think I'd known about, but I was less surprised at the crucial role of the Gallifrey One convention in the story.

Anyway, I think this really is for completists only. Normally when I say that, it's about something that isn't very good; in this case it's because none of these scripts was ever made, and none is likely to be made now, so they are of limited relevance to the wider history of Who.
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nwhyte | Dec 27, 2020 |
The Reaching Hand had a Detective Wayne where people are being scared to death. Rockumentary was, I guess, Clark, Ollie, Barry, and Arthur as the Beatles, heh, but also turns the DC Universe into a music universe, pretty cool (heh, even here Harley and Ivy were ‘Alternative’). The Babysitter one was-- heh- The Incredibles eat your heart out. Vigilantes in 3B was… weird. Barbara and Dinah in the same apartment going after Catwoman. Superman Jr. Is No More has Junior quitting, but, coming back when his Dad dies. ScandalGate has a President Superman, and was very very drippy and weird. World’s Apart was… dude, yikes. Silver Age Elseworlds were all short cool stories. Dark Night of the Golden Kingdom is in the future where Superman has lost his nerve? It was different. Metropolis, like the movie not the city, was interesting. Batman Nosferatu was what I was expecting as well as sorta being a sequel to Metropolis. Blue Amazon is also a companion to the previous two, and just as weird. And then there’s JLA Act of God. That was okay, I liked some of it, but didn’t like the Wonder Woman/Superman stuff.

It was a fun bunch of stories and I’m psyched that they’re collecting all of these sorts of stories, because sometimes they’re hard to find.
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DanieXJ | Dec 15, 2018 |

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