Hergé (1907-1983), who lived in a period during which changes in political views were frequent due to the numerous political conflicts, often used his aptitude for modern comics to make propaganda.

Hoang Uyen Nguyen

English 102

Carl Waluconis

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March 18, 2009

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I. Hergé’s Political View Evolution through the Adventures of Tintin

A. Tintin on the Paper

1. First Apparition

2. Immediate Success

B. George Remi

1. Modern Comics

2. Tintin’s World

C. Propaganda through Graphic Novel

II. Tintin in the Land of the Soviets and the Propagandas of the Western

A. Anticommunist’s Sentiment

1. USSR’s creation

2. Communism in Practice

B. Behind the Iron Curtain

1. Omnipresence of the Police and the Military

2. Corruption of the USSR Government

III. Tintin in the Congo and the Colonial Context

A. Colonial Context

1. Superiority of With Men over Black Men

2. Tintin First Steps in Congo

B. Hergé’s Ignorance Concerning Congo

1. Abbot Norbert Wallez’s Influences over Hergé

2. Hergé’s Reference Books

3. Caricatures of Congolese People

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IV. The Blue Lotus and Hergé’s Reconciliation with Anti-colonialists

A. Meeting of Two Artists

1. Zhang Chongren

2. Hergé’s Sympathy toward the Chinese

B. Japanese Colonists

1. Japanese’s Caricatures

2. Opium’s Traffic in China

C. Western Colonists

Disdainful Attitude of Europeans

D. Tintin close to the Chinese

1. Declaration of Amity

2. Tintin’s New Clothes Style

V. Origins of the Hergé’s Prejudices

A. Techniques of Propaganda

1. Tintin in the Land of the Soviets

2. Tintin in the Congo

3. The Blue Lotus

B. Political Contexts and Excuses

1. Hergé’s Excuses toward African People

a) Hergé’s Young Age

b) Suppression or Correction of Colonial Clichés

2. Personal Ideology and Reflexion of this Time

a) Media influence Hergé

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b) Expression of all the Horror

3. Hergé’s Compassion for China

a) Sino-Japanese Conflict

b) Public’s Admiration

VI. The Master of Propaganda and the Father of Modern Comics

A. Combination of Propaganda and Comics

B. Tintin forever

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Hergé’s Political View Evolution through the Adventures of Tintin

Tintin, an imaginary character emerging from a graphic novel, appeared for the first time

on January 10, 1929, in the Le Petit Vingtième, Brussels newspapers—for which his creator,

Hergé worked. The Belgian public enthusiastically adopted this young reporter after reading

Tintin in the Land of the Soviets (Cendrowicz). Later, published in 23 volumes and translated in

more than 50 languages during the period of 1929 to 1976, Tintin’s adventures have known an

unexpected success. 200 million units have been sold worldwide (Charbit).

Tintin’s success arises from the ability of his creator, George Remi, to master skills for

the writing of modern comics. Hergé, penname of George Remi, included in his creations

intrigues, intellectual humor, creativity, specificity and description. By making Tintin fight

against criminals throughout the world and especially by having him travel to the moon almost

ten years before Neil Armstrong, Hergé created a pioneer and hero and increased Tintin’s

popularity. Similarly to Jules Verne, who wrote all of his books from behind a desk and whose

adventures were purely vicarious, Hergé succeeded with his graphic novels by looking through

books and magazines to create a world where Tintin could have his adventures (Cendrowicz).

Thanks to Hergé's research, Tintin gained a multitude of friends such as his dog Snowy, his

drunken friend–Captain Haddock, Professor Calculus, the gauche detectives—the Thompson

Twins, and the imperious opera diva, Bianca Castafiore.

However, Hergé (1907-1983), who lived in a period during which changes in political

views were frequent due to the numerous political conflicts, often used his aptitude for modern

comics to make propaganda. Looking carefully throughout Hergé’s works, the public can point

out that particular political views, such as the Cold War as well as racial biases, strongly

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influenced his manner of writing. With this in mind, three of his books—Tintin in the Land of the

Soviets, Tintin in the Congo, and The Blue Lotus—are particularly interesting to analyze as

propaganda. Firstly, Tintin in the Land of the Soviets needs to be examined because it was the

propaganda of the Western bloc against the Eastern bloc. Moreover, since it is George Remi’s

first book, it represents a good mark for comparing his evolution in propaganda. Secondly, Tintin

in the Congo requires readers’ attention because Hergé had changed the content of this book

some years after its publication. In fact, this book contains stereotypes concerning Congolese

people and some anti-racism associations accused him of discrimination. Finally, The Blue Lotus

demands a particular consideration because Hergé took the defense of the colonized China, the

homeland of one of his close friend.

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Tintin in the Land of the Soviets and the Propagandas of the Western

The idea to send Tintin to the Union Soviet Socialist Republics (USSR) was from the

Abbot Norbert Wallez, Hergé’s newspaper director; Tintin’s father could not decide where to

have his hero travel in his first adventure ("A very European Hero"). However, between January

10, 1929 and 1930, when he worked on Tintin in the Land of the Soviets, the sentiment of anti-

communism predominated in Western Europe ("Tintin: 80 ans et pas une ride!"). Thus, Hergé

who strongly believed in this ideology referred to Moscou Sans Voiles by Joseph Douillet—ex-

consul of Belgium in the USSR—as principal resource for the writing of his first publication

(Decaux 29). Joseph Douillet’s book denounced practice of the communist system; the

Bolshevists—with Lenine as leader—ended the reign of the bourgeois class in Russia, but also

caused the chaos in this country.

In this atmosphere, Tintin went to the land of the Soviets not only to report what really

happened in USSR behind the iron curtain, but also to make propagandas from the Western

Europe against propaganda those from the Eastern Europe (Lavanchy 8). For these reasons,

Hergé illustrated the communist USSR as a country in which policemen and soldiers in uniform

were omnipresent, and they frequently and severely controlled foreigners (Figure1). Hergé also

did not hesitate to represent them as morally corrupted by their government; they used violence

to punish or kill people who did not support their ideology (Figure 2 & 3). Hergé often portrayed

as unsympathic cops and soldiers who never smiled unless they did as that their superiors

ordered them.

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Figure 1 ("The Land of the Soviets" 5)Surrounded by two police officers, who are much imposing than him, Tintin has to tell everything about him and his visit in the USSR.

Figure 2 ("The Land of the Soviets" 13)Two Policemen secretly want to kill Tintin because he is too inquisitive. Thus, he represents a danger for the communist regime.

Figure 3 ("The Land of the Soviets" 76)

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The representative of the law considers the anti-communist as a dog while the good communist receives his ratio of daily bread.

According to Hergé, it was clear that in such a repressive and corruptive society, the

liberty of expression did not exist and the right to vote is just a masquerade (Figure 4). People

have the right to vote, but only for the system already in place. A lie as many others that the

dictatorial government put in place to bluff the rest of the world. For instance, the totalitarian

administration only showed factories as working, but not how their representatives mistreated

unfortunate peasants in order to steal their productions for export (Figure 5 & 6).

Figure 4 ("The Land of the Soviets" 35)Three guards of the Red army menace a submitted and tired population by violence with their weapons to force them to vote for the Communist Party in a fake front election. Behind a table, these three fierce and disdainful individuals through their postures—when facing to the population, the officer on the right smokes a cigarette and the one left has his right elbow pressing on the table—show they are not respectful toward people that they have to serve.

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Figure 5 ("The Land of the Soviets" 27)An example of anti-propaganda from the Western block, a communist guide tries to make credible technologies of USSR to communist English, who appear dazzled by lies of the USSR compatriots.

Figure 6 ("The Land of the Soviets" 82)Soldiers arrest a peasant with the aim to force him to give them his harvest.

An ultra-police state with famine, poverty, and terror everywhere, was how Hergé

described the new Russia. He incredibly succeeded to pass the message to warn readers about the

dangers of communism (Lavanchy 8). As a reminder, Belgian public welcomed Tintin in the

Land of the Soviets with enthusiasm. Indeed, in the context of the Cold War, similarly to other

Belgians, he did not accept anything from Russians, even their good actions. Bolshevists are

inevitably liars and profiteers, because they are communists; in this case, Tintin’s creator

exposed them as the demon.

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Tintin in the Congo and the Colonial Context

At the end of the 19th century, the idea that white people were superior to others spread

out all over the European continent (Paquier 14). Having this definition deeply inked in their

heads, white men intended to stretch their civilization as far as possible—they especially thought

that Africans had no education. Hence, European people during this period showed little

appreciation to other civilizations. George Remi, set his figure, Tintin, in Congo with the same

frame of mind—black men are inferior beings. Indeed, in his comic books Tintin in the Congo,

he represented Congolese people as lazy and naïve people. The most eventful moment in that is

when Tintin’s car derails a train made in Congo. On this drawing board, after some quick

excuses, Tintin, with his hands on his hips, orders the passengers to put the train back on the

tracks by making them feel guilty. He shows them how disgraceful they are to let Snowy, his pet

companion, do this hard task alone (Figure 7).

Figure 7 ("Tintin in the Congo" 36)Tintin explains to black people how they have to behave in this scene. However, to keep the idea of superiority of white people, Hergé only draw his hero giving orders; Tintin does not involve in heavy tasks.

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After his first book, Tintin in the Land of the Soviets, Hergé, desired his hero to go to

America. Nevertheless, under the influence of Abbot Norbert Wallez, who advocated religious

missions in Belgian colonies, he instead sent Tintin to Congo (Lavanchy 11). The young George

Remi, who ignored everything that happened in this Belgian colony, hastened to begin writing

the story without taking any step back because of time constraint—Le Petit Vingtième was a

daily publication ("Tintin in the Dock").

Hergé, who lived in Brussels—capital of Belgium, started to gather information from the

Musée du Congo, newly called the Musée Royal de l’Afrique Centrale, in which he discovered

the statue of the terrifying Leopard-man, to which he gave life in his fiction ("Tintin à l’Heure de

la Colonisation"). He thereby created the myth of the wild African (Figure 8). As for Tintin, he

inherited the panoply of the perfect Belgian colonist, from the cap to the pants as well as the

rifle. The author used the book Notre Colonie by A. Michiels and N. Laude as reference ("Tintin

à l’Heure de la Colonisation"). This book has as its thesis, the supremacy of white men over

black men. It asserts that white men have to take charge and assure to the local habitants a good

government. For example, Tintin tried to bring order to a Congolese village where tribal chefs

quarreled (Figure 9). Even French scholar manuals written by missionaries for Congolese

children contained absurdities, such as, “black people are victims of human decadences,”

whereas, “white people represent the superior race1” (Couvreur). In the same register, the

Géographie officielle de la Belgique et du Congo stated that "the intellectual development of a

black kid stops very soon2” (Couvreur). From these books, Hergé extracted stereotypical

caricatures of Congolese people; he drew them with huge mouth that make up one third of their

1 (Couvreur, Unpublished translation by Nguyen U. Hoang)2 ("Tintin à l’Heure de la Colonisation", Unpublished translation by Nguyen U. Hoang )

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face, and wearing crazy clothes—they utilize former old white men clothes, but they do not

know how to wear them (Figure 10).

Figure 8 ("Tintin in the Congo" 56)The picture on the right shows the Leopard-man from the Musée Royal de l’Afrique Centrale and the drawing on the left illustrates George Remi’s re-transcription in the comics.

Figure 9 ("Tintin in the Congo" 56)This scene not only shows that Congolese tribal leaders accept to make peace between them, but also they agree to the idea that Tintin, white person, is superior to them.

Figure 10 (George)On this picture, a black man carries a cravat over his nude torso and has a false collar without wearing a chemise whereas a black woman wears a fur coat on a sunny day with a hat made with feathers.

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In Tintin in the Congo, Africans are inferior to Westerners whether intellectually or

physically. Hergé especially focused on the correlation—black man needs help of the white man

because of the superiority of the white man to spread concept superiority of the White to the

world. The wild and uneducated Congolese accept the invasion of the Belgian with happiness

because the latter civilize the former. For example, Snowy educated by Tintin has better

speaking language than the Congolese who talk with no conjugated verbs. In Hergé’s view,

black people have to be thankful that white people are here to support them (Wilhelm 6).

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The Blue Lotus and Hergé’s Tentative of Reconciliation with Anti-colonialists

In 1934, Hergé met the young Chinese student, Zhang Chongren, who was an apprentice

sculptor at the Royal Academy of Fine Arts in Brussels, with the view to collect information for

Tintin’s next adventure, in the Far East. Father Gosset, professor at the University of Leuven, is

the person who organized their meeting to prevent Hergé from having cultural and racial

misconception as he did in Tintin in the Congo (Hill-Gibbins 12). The two artists became friends

and the Orient’s culture quickly fascinated Hergé. This friendship not only helped him to avoid

certain Chinese stereotypes, but also gave him a strong sympathy toward the Chinese population.

Having affection for those people, he started writing of The Blue Lotus which condemns the

occupation of China by Japanese and Western colonists during the 1930s (Laser-Robinson 19).

Hergé took the defense of Chinese people by first making caricature of the Japanese in

his fifth oeuvre. In contrast to the young Chang (Figure 11), his Chinese friend whom he

transposed in the comic and who inherited Western traits, he sketched Mr. Mitsuhirato—the

principal bad character of the story—like a mole. Indeed, Chang has barely squinted eyes, small

nose, brown hair, and happy face whereas the mean colonist has a small moustache over his

upper lip, large mouth, big tooth, two thin line instead of eyes, a pig nose, and black hair in pike.

Figure 11 ("The Blue Lotus" 43)Close together, Tintin and Chang almost undistinguishable; the merely thing that differentiates them to each other is the color of their clothes and hairs.

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Moreover, George Rémi repeatedly depicted the Asian settlers with a petty-minded smiles or

choleric to emphasize the idea that the Japanese people are naturally bad. On the other hand, he

loved to represent the Chinese characters as wise, nice, or courageous (Figure 12 & 13).

Figure 12 ("The Blue Lotus" 18)In one side, Mr. Wang who has the Chinese sage man visage; his white beard and his two raised hands put in the opposite sleeve of his yellow robe give him a serene allure. In the other side, Mr. Mitsuhirato who has a hideous figure that arouses suspicion.

Figure 13 ("The Blue Lotus" 27)At the risk of his life, this sympathetic peasant helps Tintin to pass posts of control that Japanese soldiers put in place to arrest the young reporter.

The employ of the good versus the evil concept is another way for Hergé to convince the readers

to accept his beliefs. In addition to make the Japanese individuals ugly and violent, he also

accused them to be at the origin of the dealing of opium in China. In fact, Mr. Mitsuhirato who is

a Japanese secret agent collaborated with a former Tintin’s enemy—Roberto Rastapopoulos—in

the order to control the drug traffic. In opposition to these dishonest and villain beings, Mr.

Wang, Chang, Tintin, and Snowy tried by any means to stop these deals.

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Hergé will not spare the Westerners’ excess of zeal towards the unfortunate Chinese

citizen, who works hard to ameliorate his situation. From the first page of The Blue Lotus, Hergé

already informed the public his position concerning the colonization in China. For instance, just

after the rickshaw accident, Tintin directly interposed by breaking the cane of Gibbon, a rich

European colonizer, and by reminding him that his behavior is not fit for a gentleman (Figure

14). Even though, he did not denigrate the European physically, he pointed out their vulgarity

and omission of basis values—the respect of the other. Hergé equally tried to convey through

Gibbon, the hypocritical attitude of the white men who do the opposite of what they say or think

(Figure 15).

Figure 14 ("The Blue Lotus" 6)By stopping this white man hitting the rickshaw man in the middle of Shanghai downtown, Tintin clearly shows to Chinese people that he is here to help them.

Figure 15 ("The Blue Lotus" 6)Absurd scene where Gibbon compares yellow people as savage, but he acts as a brute who does not respect anyone at the same time.

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Hergé’s pro-Chinese sentiment appeared also in the friendship between Tintin, the

Belgian and Chang, the Chinese. The scene where Hergé emphasized this amity is when Tintin

succeeded to save Chang from drowning. However, the latter curiously asked the reporter after

recovering his senses, why he saved him. In fact, as the young Chinese boy explained, white

devils killed his grandparents during the Boxer Rebellion—opposing China to Western countries.

Tintin directly reassured him by clarifying that not all white men are evil (Figure 16).

Figure 16 ("The Blue Lotus" 43)The meeting between the two individuals is the occasion for Hergé to affirm his attachment for Chinese people. To give power to his affirmation, he made Tintin saved Chang’s life and drew his hero in traditional Chinese clothes. He here provides the image of a good Western man who came to China with different purpose than power or wealth—the sharing of cultures.

Hergé made his propaganda pro-Chinese by the denigration of the Japanese with

caricatures, by the accusation of the Asian and Western colonists which are at the origin of the

social malaise in China, by giving positive images of the Chinese, and by making a Tintin very

close to the Chinese population. Those methods permitted to Hergé to fully succeed to expend

his ideology; aficionados of comic book consider The Blue Lotus as the most realist oeuvre of

Hergé. “Readers of Le Monde newspapers rank this book at the 18th position among books that

have marked the 20th century” (Buu).

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Origins of the Hergé’s Prejudices

No matter what the context—Cold War, pro-colonialism, or con-colonialism—Hergé

always significantly succeeded to propagate his ideas. In Tintin in the Land of the Soviets, he

depicted Russia as an underdeveloped country, a state in which the frightening government let

their citizens live in cities in ruin. Scarcity of food, misery, and violence from law enforcement

were in all places. Because of their political choice, communist Bolshevists are by default bad;

Hergé demonized everything that derives from the Soviet administration. In Tintin in the Congo,

Hergé used the caricature for primary weapon. He stressed on Congolese people’s traits of

visages and gave them the behavior of a big child. Clearly, these ugly and naïve men needed the

adult and responsible white people as guides to show them how to solve their problems. To

extend his perception, Hergé particularly emphasized the airy-fairy concept that states black men

see the arrival of white people on their lands as a benediction of God. Thus, Westerners did

nothing incorrect when invading black people’s lands. In The Blue Lotus, George Remi started

his propaganda by comparing of the Japanese to the Chinese. Being pro-China, he praised

Chinese people—they are sage, hard worker and always ready to help other, and denigrated

Japanese individuals—they are animal like and responsible for the drug trade in China. Next, he

played with the concept of god and evil when he explained the reason why some westerners are

brutal. Finally, the representation of Tintin in traditional Chinese clothes had a considerable

importance in the conquest of the Far East; Tintin was much closer to Chinese people than he

was with the Congolese. Those processes allowed Hergé to completely achieve his ideologies in

a time when political opinions were instable because of the multiple political quarrels.

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As seen on the analyses of the three books, Hergé’s propaganda was sometimes so

virulent that some anti-racism associations accused him of discrimination. For example,

English’s editor never published Tintin in the Congo that contains stereotypes concerning

Congolese people. “This book contains imagery and words of hideous racial prejudice, where

savage natives look like monkey and talk like imbeciles” (Malvern). Moreover, his arrestation by

the Belgian government for being a collaborator because he worked as cartoonist for newspapers

that Nazis censored during World War II made him feel guilty (Cendrowicz). Hergé’s books

were is products of its time. “It correctly represents attitudes that were prevalent in 1931”

(Knight). These allegations—which pushed him to depression—pursued him to the end of his

life, even though he inserted anti-Nazi action in his works in the 1930s. Later, Tintin also started

to oppose communism and capitalism.

Hergé later admitted that prejudices toward the Soviet and the Congolese were puerile,

This was in 1930, I only knew of this country thanks to what people narrated during that period: ‘Africans are big children.’3

How lucky they are that we are here!’ and so on. I portrayed these Africans according to these criteria, in this purely paternalistic spirit of the time in Belgium ("Tintin à l’Heure de la Colonisation")… It’s true that Soviets and Congo were youthful sins. I’m not rejecting them. However, if I were to do it again, they would be different (Laurent).

In this context of colonization, it was obvious that Tintin had to inherit some bad influences from

his creator. Since Europeans thought that everything that comes from outside their continent has

no importance, Hergé’s offensive attitudes come from the environment in which he lived.

Therefore, George Remi, who was only 22 years old when Tintin travelled to Congo, eventually,

thought, without taking a step back, that black people neither had outside beauty nor inside

beauty ("Tintin à l’Heure de la Colonisation"). However, when older Hergé understood his

3 (George Remi, Unpublished translation by Nguyen U. Hoang)

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mistake which lead him apologize to African people. Thus, Hergé removed and corrected some

clichés that referred Belgian colony in the 1946 version of Tintin in the Congo. In the classroom

scene, Tintin replaced his Geography lesson, in which Congolese children learned about their

fatherland, Belgium, with a Mathematics lesson (Figure 17).

Figure 17 (George)In the version of 1934, the colonial sentiment was very strong; Tintin tried to convey to the uneducated Congolese students that their country is a part of Belgium. In the version of 1946, Herge gives a more neutral image to Tintin, who becomes a Mathematics teacher.

Changes, even minimum—Tintin just teaches simple calculs such as two plus two equal four 4—

shows that Hergé has somewhat his opinion about black men.

Hergé also affirmed that his prejudices toward the Soviets arose from books dealing with

the bloody October Revolution and the massacre of the House of Romanov—last imperial

dynasty of Russia—that he received and read when he was only 15. Thus, Tintin in the Land of

the Soviets was a mélange of personal ideology and reflection of his time.

« For Tintin in the Land of the Soviets, it certainly was a mélange of both. I worked at that time for a catholic newspaper. Thus, of the extreme-right and

4 (Referring to the figure 17 in color, Tintin: We are going to start if you want by some addition… Does someone know how much is two plus two?... Nobody?... Come on… Two plus two is equal to…)

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their public enemy number one was evidently the Bolshevist5» ("Hergé à Propos de Tintin, ses Idées Politiques").

He considered the script of Tintin in the Land of the Soviets as expression of all horrors that he

could read in books or seen in movies which type casted Soviets people as cruel and bloodroot

beings. Thereafter, he recognized that Soviets too were victims of their tyrannical government.

To prove that the anti-Soviet sentiment was very present in Belgium, he cited as example, in his

own defense, an article came out in Le Petit Vingtième, which particularly impacted him and

titled “What did this Soviet oil tanker in the Red Sea do?6” ("Hergé à Propos de Tintin, ses Idées

Politiques"). In this article, a journalist emitted doubts around the reason why a Russian oil

tanker was in the Red Sea, close to the sinking of the trans-Atlantic ship, the George-Philipar,

while latter came there to help victims of the burning boat. His confidences in his beliefs made

Hergé’s message in his works all the more persuasive.

Hergé’s compassion for the Chinese in The Blue Lotus based on the good relation with

Zhang Chongren was sincere. His points of view concerning the Chinese population changed

from this meeting of minds. Thus, the creator of Tintin feels the need to share his passion to the

world and to encourage Westerners to avoid prejudices about China. However, at the beginning

of 1930, political tensions between China and Japan made headlines of newspapers every day.

Because of the emergency to support or his affection’s élan for Chinese population, the

cartoonist did somewhat relapsed in the trap of race discrimination when he caricatured the

Japanese (Laser-Robinson 19). Nevertheless, critics and public did not punish him for this

mistake. In fact, they admired him for his anti-colonial behavior and his desire to try to avoid

stereotype. “The same stupid European that Hergé is reffering to in the scene with Chang may be

none other than himself” (Laser-Robinson 19).

5 (George Rémi, Unpublished translation by Nguyen U. Hoang)6 (George Rémi, Unpublished translation by Nguyen U. Hoang)

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The Master of Propaganda and the Father of Modern Comics

Through Tintin in the Land of the Soviets, Tintin in the Congo, and The Blue Lotus,

George Remi shows that he really is a master of propaganda as well as one of the fathers of

modern comics. He succeeded to combine propaganda to graphic novels, which include

intrigues, intellectual humor, and actions. Micheal Farr, author of Tintin: The complete

Companion suggests that Tintin defies time, language and culture because comedy and even

farce will attract children, whereas political satire and parody, puns and prescience will attract

adult. Twenty-five years after Hergé’s demise, Tintin remains very popular and he now prepares

his reconversion for the Hollywood world (Cendrowicz).

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Work Cited

"A very European Hero." The Economist 18 Dec 2008: 5.

"Tintin: 80 ans et pas une ride!" L'Express 10 Jan 2008: 2.

"Tintin in the Dock." Guardian News 30 Jan 1999 3. 08 Mar 2009

<http://www.guardian.co.uk/theguardian/1999/jan/30/weekend7.weekend14/print>.

Cendrowicz, Leo. "Tintin Travels to Tinseltown." Time Magazine 21 Mai 200: 2.

Buu, Gamma Alain. "Tintin toujours aussi populaire à 80 ans." Europe 1 09 Jan 09: 2.

Charbit, Nadia. "Tintin and Snowy celebrate 80 years." France 24 10 Jan 2009 1. 05 Mar 2009

<http://citationmachine.net/index2.php?

reqstyleid=1&reqsrcid=16&mode=form&more=&source_title=Internet%20Journal%20or

%20Magazine%20Article%20-%20One%20or%20More

%20Authors&source_mod=0^99&stylename=MLA>.

Couvreur, Daniel. "Tintin chez les petits Blancs." Le Soir 07 Dec 2007 02Feb 2009

<http://www.lesoir.be/culture/livres/bande-dessinee-herge-et-la-2007-12-07-565378.shtml>.

Decaux, Alain . "Art." Archives de France 41.

George, Remi. Tintin in the Land of the Soviets. San Francisco, 2003.

George, Remi. Tintin in the Comgo. San Francisco, 2002.

George, Remi. The Blue Lotus. 1st American ed. Boston: Little, Brown, 1984.

Nguyen 26

Hill-Gibbins, Joe. "Hergé’s Adventure of Tintin." Young Vic 12 Jul 2007: 56.

Knight, India. "Let Tintin the racist speak." The Sunday Times 15 July, 2007 1. 13 Feb 2009

<http://www.timesonline.co.uk/tol/comment/columnists/india_knight/article2076264.ece>.

Lavanchy, Christian . "Les Aventures de Tintin." Travail de Maturité Jun 2004: 22.

Laser-Robinson, Alexander S. "An Analysis of Hergé's Portrayal of Various Racial Group in The

Adventures of Tintin." UW-20 Section 15 21.

Laurent, Lionel. "Tintin's Racist Past." Forbes 23Jul2007 1. 01/28/2009

<http://www.forbes.com/2007/07/23/tintin-congo-herge-cx_ll_0713autofacescan01_print.html>.

Malvern, Jack. "Tintin book is crude, racist and must be banned, says watchdog." The Times 12

Jul 2007: 2.

Paquier, Nadège, and Diane Tiedemann. "La Colonisation du Congo." Gymnase Auguste Piccard

13 Nov 2006: 43.

Wilhelm, Frank. "Regard sur la Colonisation de l'Afrique et du Congo." Centre

Universitaire de Luxembourg 12.

Video Documents

"Hergé à propos de Tintin, ses idées politiques." ORTF 08 Oct 1973: 15'49''.

"Tintin à l’Heure de la Colonisation." Colloque: "Tintin à Jérusalem" Nov 2007: 63'.

Additional Works

Hugo Frey, "Contagious Colonial Diseases in Hergé's The adventures of Tintin." Modern

& Contemporary France 12(2004): 177-188.

Nguyen 27

Peeters, Benoît . Tintin and the world of Hergé : an illustrated history. 1st U.S. ed..

Boston: Little, Brown, 1995.

McCarthy, Tom. Tintin and the Secret of Literature. 1st Counterpoint ed.. Berkeley, CA: Group

West, 2008.

Special Thanks to:

Movek Boland

Nguyen Quyen Map

Wellman Clark