435:", and stated that both works were instrumental in shaping the development of contemporary comics. Lisa Naomi Mulman wrote that "the remarkable power" of the two books is in the graphics, which "integrates textual and illustrative materials, producing profoundly ironic and telling juxtapositions", but she remarked that the most notable similarity is the depiction of the Jew as a mouse. Robert G. Weiner and Lynne Fallwell noted that Rosenthal's use of Mickey Mouse "illustrates how Jews are made into 'the other'—something that is subhuman". Richard Meran Barsam stated that in the 1940 Nazi propaganda film
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259:
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that Mickey explores Gurs with "childlike naïveté". He is unable to understand the purpose of the camp and its rules of conduct, and is puzzled rather than shocked by it. Rosenberg said
Rosenthal uses Disney's mouse to convey the "surrealistic situation" the camp's inmates found themselves in, and "sharply criticizes" the French government for forsaking them. Marx remarked that by making the protagonist a cartoon character, Rosenthal emphasises the absurdity of their situation.
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ending suggested that
Rosenthal believed that he too would be set free, and was oblivious of what the Nazis had planned for him and the other detainees. Knudde said that Rosenthal's fate "casts a wry and dark shadow over his writings". Wedderburn emphasised the "obvious overtone" and "pathos" that clouds the comic: while Mickey can escape his cartoon world, his author remains captive in the material world.
218:. There he observes the camp's harsh living conditions with its oppressive rules. He needs a magnifying glass to see his food ration and meets several inmates who appear to be in collusion with the authorities. Mickey finally decides that this is not for him and, since he is a cartoon character, he erases himself from the camp and redraws himself walking to America:
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Mouse is both an
American outsider and a Jewish inmate, making him a "metatextual being" able to transcend the reality of the situation and give Rosenthal an otherwise unobtainable point of view. Morgan called the last page of the comic "etafictional fantastika", and drew parallels between Mickey erasing himself and the Nazis erasing the Jews.
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illustrated the author's concern about infringing copyright. Feinstein suggested that
Rosenthal's unofficial comic highlighted the irony that "the legal protection afforded copyright something stronger, even in the present eras, than protection of people". Knudde noted that the comic's optimistic
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Alister
Wedderburn suggested that by portraying a concentration camp in a comic, Rosenthal suspends reality and creates a "parallel camp space" which his cartoon character can investigate and question "with a latitude that would be impossible within the material camp itself". Wedderburn explained
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that deploys "critique and darkly-comic parody". Kjell Knudde characterised the comic as "a strange clash between childish innocence and the harsh reality of Nazi politics and war". Bernard Marx called
Rosenthal's work "an offbeat and very moving testimony of the horror lived". Morgan said Mickey
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for being unable to produce identity papers. He tells the judge he has no mother and that his father is Walt Disney. When asked if he is Jewish, Mickey replies that he has no idea about that. The judge concludes that Mickey must be Jewish, and he is sent to the
445:, who claimed that "he Jews are undoubtedly a race, but they are not human", called mice a malignant species. Mulman opined that by depicting Jews as mice, Rosenthal and Spiegelman "metaphorically engage Hitler's malevolent racial allegations".
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Pnina
Rosenberg wrote that the cover of Rosenthal's comic showing a smiling Mickey Mouse in a concentration camp creates an incongruity that grows as the story progresses. The dissonance culminates when Mickey decides to escape his "absurd,
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And so, because I'm nothing more than a drawing, I rubbed myself out with a stroke of the eraser… and… ta-da…!!! The police can always come and look for me in the land of lib...ty, eq...ity and frat...ity (I'm talking about
America!).
400:" predicament, and erases himself to flee to the land of "liberty, equality and fraternity", but he makes it clear it is America he is going to, not France, which has abandoned its national motto,
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by adding "Publié Sans
Autorisation de Walt Disney" ("Published without Walt Disney's Permission") to the front cover. Rosenthal was detained in Gurs for two years before being sent to
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showing dozens of barracks in rows. It was pasted onto the comic book page alongside the text and a drawing of a startled Mickey staring at his first glimpse of the camp.
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has been called "one of the earliest surviving examples of a comic from the
Holocaust", and "perhaps the earliest sequential art narrative dealing with the Holocaust".
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669:"Speaking the Unspeakable and Seeing the Unseeable: The Role of Fantastika in Visualising the Holocaust, or, More Than Just
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is a 15-page, 13-panel comic strip written and illustrated by Rosenthal. He created it using black ink and watercolour on
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was first published in 2014, along with two of Rosenthal's other comic books he had created while interred in Gurs, by
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Stephen Feinstein wrote that Rosenthal's statement "Published without Walt Disney's Permission" on the front cover of
285:(2016) that the absence of colour in Rosenthal's work may have been due to the availability of materials at the time.
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Feinstein, Stephen (2008). "Art from the Concentration Camps: Gallows Humor and Satirical Wit".
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in September 1942; he was murdered on the day of his arrival.
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590:"Mickey Ă Gurs: Les carnets de dessin de Horst Rosenthal"
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Weiner, Robert G.; Fallwell, Lynne (15 December 2010).
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Mickey Ă Gurs: Les Carnets de dessin de Horst Rosenthal
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Mickey Ă Gurs: Les Carnets de dessin de Horst Rosenthal
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Rethinking History: The Journal of Theory and Practice
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Translated from the French by Alister Wedderburn; the
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1040:. In Baskind, Samantha; Omer-Sherman, Ranen (eds.).
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95:(Mickey in Gurs: The comic books of Horst Rosenthal)
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153:in France during World War II. The comic features
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417:Comparisons have been made between Rosenthal's
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1127:MetaMAUS: A Look Inside a Modern Classic, MAUS
979:. Indiana University Press. pp. 204–205.
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1042:The Jewish Graphic Novel: Critical Approaches
406:, turned its back on human rights and become
1289:Works based on a copyright-free Mickey Mouse
1185:"Sequential Art Narrative and the Holocaust"
1155:Millennium: Journal of International Studies
1044:. Rutgers University Press. pp. 85–93.
309:Center of Contemporary Jewish Documentation
305:Centre de Documentation Juive Contemporaine
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976:Nonfiction Film: A Critical History
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341:in Paris. The collection, entitled
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1187:. In Friedman, Jonathan C. (ed.).
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198:features, and is narrated by,
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1616:Non-Disney Mickey Mouse-media
626:Knudde, Kjell (7 July 2018).
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1347:The Vanishing of S.S. Willie
1145:Wedderburn, Alister (2018).
1061:Journal of Jewish Identities
667:Morgan, Glyn (Summer 2015).
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403:liberté, égalité, fraternité
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1466:Artist's Studio—Look Mickey
1036:Mulman, Lisa Naomi (2010).
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1339:Mickey Mouse in Vietnam
469:Mickey Mouse in Vietnam
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1431:Mickey au Camp de Gurs
1219:Mickey au Camp de Gurs
588:Marx, Bernard (2014).
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419:Mickey au Camp de Gurs
381:Mickey au Camp de Gurs
379:Glyn Morgan described
331:Mickey au Camp de Gurs
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1576:Fiction set in prison
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1611:Public domain comics
1566:Comics set in France
1439:The Uncensored Mouse
1412:Infestation: Origins
1394:The Pandemic Special
1195:. pp. 464–469.
1193:Taylor & Francis
1090:Mickey Mouse in Gurs
1009:. pp. 153–196.
681:Lancaster University
632:Lambiek Comiclopedia
339:MĂ©morial de la Shoah
294:Gurs internment camp
216:Gurs internment camp
181:MĂ©morial de la Shoah
151:Gurs internment camp
84:Original publication
1586:Mickey Mouse comics
1551:1942 comics endings
1506:Tomorrow's Pioneers
816:, pp. 278–279.
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303:was donated to the
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1304:Walt Before Mickey
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288:The fourth panel (
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995:Chute, Hillary L.
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628:"Horst Rosenthal"
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966:Works cited
915:Mulman 2010
898:Barsam 1992
886:Mulman 2010
874:Mulman 2010
741:(in French)
596:(in French)
569:, Abstract.
385:Walt Disney
365: [
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262:Panel 4 of
211:gendarmerie
204:Walt Disney
163:protagonist
155:Walt Disney
1540:Categories
1474:Andy Mouse
1423:Literature
1363:South Park
1320:Screamboat
1029:De Gruyter
862:Chute 2016
763:Chute 2016
546:References
398:Kafkaesque
351:Joël Kotek
143:cartoonist
76:Page count
1226:Le Figaro
1176:149585148
1114:143675622
1081:161489868
738:Le Figaro
551:Citations
167:Auschwitz
39:Cover of
1525:Category
1396:" (2020)
1389:" (2019)
1382:" (2012)
1375:" (2009)
1373:The Ring
1365:episodes
1124:(2011).
536:ellipses
457:See also
337:and the
324:MetaMaus
299:In 1978
290:pictured
275:A5 paper
191:Synopsis
179:and the
109:Language
79:15 pages
1493:Related
961:Sources
636:Lambiek
515:Judaism
477:Portals
48:Creator
1485:(2012)
1482:Mickey
1477:(1986)
1469:(1973)
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1442:(1989)
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745:1 May
686:1 May
679:(6).
641:1 May
600:1 May
522:Notes
389:Hergé
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208:Vichy
1500:Foxy
1274:Non-
1197:ISBN
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747:2019
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