000			01698cam a2200289 4500500
005			20250121143030.0
041			_afre
042			_adc
100	1	0	_aMazurier, Stéphane _eauthor
245	0	0	_aRoland Topor and the Hara-Kiri gang
260			_c2017.
500			_a43
520			_aThough Roland Topor worked with Hara-Kiri for only five years, between 1961 and 1966, it was for this newspaper that he produced the most drawings. It was there that he forged his style and began to gain a certain notoriety. Anxious to chart his own course and refusing to limit his work to press illustration, he left Hara-Kiri but continued to frequent the same cultural networks as several of the monthly magazine’s cartoonists, notably Wolinski and Willem. He found himself reunited with the “ Hara-Kiri gang” in publishing (at Pauvert or Losfeld), the press ( L’Enragé, Le Fou parle, Charlie mensuel) and even television ( Merci Bernard, Palace). A singular figure on the Hara-Kiri scene, Topor was both one of the most brilliant among them and a peripheral, marginal presence—the only one, perhaps, who refused to be taken under Cavanna’s wing.
690			_aProfessor Choron
690			_aCharlie Hebdo
690			_aSiné
690			_aPanic (Movement)
690			_aWillem
690			_aSatirical Press
690			_aFrançois Cavanna
690			_aGeorges Wolinski
690			_aHara-Kiri
690			_aPress Illustration
690			_aJean-Michel Ribes
786	0		_nSociétés & Représentations | o 44 | 2 | 2017-11-07 | p. 23-29 | 1262-2966
856	4	1	_uhttps://shs.cairn.info/journal-societes-et-representations-2017-2-page-23?lang=en&redirect-ssocas=7080
999			_c586069 _d586069