Abstract
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.
Published Version
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