The following article offers a comparative, contextualized analysis of two versions of Cauchemar Blanc: its initial iteration as a bande dessinée published in 1974 by Moebius and its cinematic adaptation in 1991 by Mathieu Kassovitz. By analyzing the aesthetic and discursive strategies used, the study demonstrates how the authors use visual media to expose the pervasiveness of racism in France. Though Kassovitz remains faithful to the original, his adaptation intensifies Moebius's critique of French attitudes toward immigration and the ethnic diversification of society through the addition of humor, which functions as a call for collective action and sociopolitical reform. A comparative analysis of the film and comic within their historical contexts reveals the aesthetic and political nuances of transitioning between mediums and highlights evolving discursive strategies used by Left-leaning artists between the mid-1970s and early 1990s, emphasizing the persistence of racism in France despite institutional efforts against it.

中文翻译：

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bande dessinée 和电影中种族主义暴力的双重噩梦：Cauchemar Blanc（Moebius，1974 年和 Kassovitz，1991 年）


以下文章对 Cauchemar Blanc 的两个版本进行了比较、情境化分析：1974 年由 Moebius 出版的 bande dessinée 的初始迭代和 Mathieu Kassovitz 于 1991 年出版的电影改编。通过分析所使用的美学和话语策略，该研究展示了作者如何使用视觉媒体来揭露种族主义在法国的普遍性。尽管卡索维茨仍然忠实于原作，但他的改编通过增加幽默来加强莫比乌斯对法国对移民和社会种族多元化的态度的批评，幽默的作用是呼吁集体行动和社会政治改革。在历史背景下对电影和漫画进行比较分析，揭示了媒介之间过渡的美学和政治细微差别，并突出了左倾艺术家在 1970 年代中期至 1990 年代初之间使用的不断发展的话语策略，强调了种族主义在法国的持续存在尽管制度性努力反对它。