|This article must adhere to the biographies of living persons (BLP) policy, even if it is not a biography, because it contains material about living persons. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from the article and its talk page, especially if potentially libellous. If such material is repeatedly inserted, or if you have other concerns, please report the issue to . If you are a subject of this article, or acting on behalf of one, and you need help, please see this help page.|
|This article is of interest to the following WikiProjects:|
Biography assessment rating comment
Hello, 22.214.171.124! Please either replace this message with a stub and an external link or leave this page to be deleted. If there was permission to use this material under terms of our license, then please offer some evidence of this permission on this page's talk. Please also note that the posting of copyrighted material that does not have the express permission from the copyright holder is both illegal and a violation of our policy. If you have a history of this or if you continue violating other people's copyrights, then your IP may be temporarily blocked. Please view this as a warning -- we still welcome any original contributions by you.
Enki Bilal was born in 1951 in Belgrade, the capital of Yugoslavia, and moved to Paris 9 years later. At age 14 he met René Goscinny (writer of Astérix) and famous French comix scripter Jean-Michel Charlier, who praised his drawings and encouraged him to try comics. His first story, the utopian "Le Bol Maudit", was published 1972 in Pilote.
In 1975 he started a long-running collaboration with Pierre Christin with La Croisière de les Oubliés. The following year the pair produced Le Vaisseau de Pierre, followed by La Ville qui n'Existait pas, Les Phalanges de l'Ordre Noir, Exterminateur 17, and Partie de Chasse, a story examining the moral effect of Communism and its collapse. Cœur Sanglant et Autres Faits Divers appeared in 1988.
In 1980 Bilal began his Nikopol Trilogy with La Foire aux Immortels, the first story which he both wrote and drew. It was very successful in France and Bilal was acclaimed one of the most interesting contemporary authors. The sequel, La Femme Piège, appeared in 1986 and the series concluded in 1992 with Froid Equateur. A new story, Le Sommeil du Monstre, appeared in 1999.
In 1983 Bilal created designs for the film, La Vie est un Novel, directed by French director and comix aficionado Alain Resnais. In 1989 Bilal himself directed the filming of his story La Foire aux immortels. He has also worked on the films Bunker Palace Hôtel and Tykho Moon.
Enki Bilal has illustrated many other series and book covers.
December 27th 2005, 4:00 AM Enki Bilal was born in Belgrade, Serbian capital. In the time he was born, it was the capital of Yugoslavia, but also the capital of Republic Serbia within Yugoslavia. The "Yugoslavia" part is to be noted, but I insist in adding "Belgrade, Serbia", too. Yugoslavia doesn't exist anymore, but both Belgrade and Serbia Bilal was born in do. In this time of our efforts to represent both our nation and our state in a new, different and positive light, I added that minor, but significant change in the sentence of Enki Bilal's birth. -Dragan.
We should avoid the use of 'latest'. The paragraph about the latest publication being 32 Décembre and him working on Rendez-vous à Paris is no longer true. 'Latest' will always become outdated.
I think it's better to just drop this paragraph, but want to hear other users' thoughts first. Ninja neko 15:17, 14 June 2006 (UTC)
WARNING: Political propaganda at work
This becomes pathetic. Someone is trying to present this French artist as "Bosnian-French" (sic!) by removing the reference that he was born in Serbia, and by inventing stuff about the nationality of his parents. Adding 'Serbia' to his birthplace and removing the ridiculous 'Bosnian-French actor' remark, as well as the remark about the 'nationality' of his parents. The art is not the ground for political and low-level nationalistic propaganda. Marechiel 08:31, 7 July 2006 (UTC)
- Bilal's art is about as "political" regarding the former East Bloc and Yugoslavia as was Andrey Tarkovsky's. The works of both artists have deeply influenced our Western view of a bleak, decaying, and dismal East Bloc particularly during its stagnative period of the 1970s and the 1980s, be it Bilal's Hunting Party, his two or three albums in relation to the Berlin wall (his Die Mauer portfolio, Crux Universalis, and his contributions to Durchbruch), and his Yugoslavia cycle, or Tarkovsky's Stalker (1979). AFAIK, Bilal has also referred to Tarkovsky (next to David Bowie's athereal, slightly melancholic music) as one of the formative mood influences upon his body of work. --2003:71:4E33:E588:71AF:E80F:8714:23DD (talk) 21:47, 16 March 2017 (UTC)
- Oh, and BTW, according to Lambiek, Bilal's mother was Czech and his father was Bosnian. Obviously, Bosnian at the time of his father's birth was no nationality but an issue of language (Bosnian language), ethnicity (Bosniaks), culture (Culture of Bosnia and Herzegovina), and/or religion (Islam in Bosnia and Herzegovina), no matter whether he was born in Austria-Hungary or in the Kingdom of Serbs, Croats and Slovenes. Just think of the Welsh and Scots whose language is (or used to be) Welsh and Gaelic and who at least in parts still have more Catholics among them than do the English, and yet the Welsh and Scots are British by nationality. But even the fact that their nationality is British doesn't change the fact that they are Welsh and Scots. --2003:71:4E33:E570:1CFB:45E4:FB81:73D4 (talk) 01:43, 18 March 2017 (UTC)
- A recent find: Bilal signed early short stories in his Memories from Other Times not as Enki but Enes Bilal, which would fit his Bosniak origins. It's the Bosnian form of the Arabic name Anas, see for instance Anas ibn Malik and Anas Sharbini. --2003:71:4E33:E513:6493:E9A2:DDD1:289A (talk) 00:56, 22 March 2017 (UTC)