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Journal articles on the topic 'Art - Cartoon, comics and caricature'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Cabut, Jean (Cabu). "Cabu Reporter." European Comic Art 2, no. 1 (2009): 131–51. http://dx.doi.org/10.3828/eca.2.1.8.

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French editorial cartoonist and comic-strip artist Cabu (pen name of Jean Cabut) is interviewed by Tanitoc, French cartoonist and contributing artist to European Comic Art. They talk about the evolution of political caricature in France, differing reactions of people to being caricatured by a cartoonist or being filmed, and the use of archetypes in caricature. Cabu also discusses the influences of other cartoonists on his own art, the high points of his cartooning career, his cartoon reportages, and various book publications of his work

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Fischer, Anna. "Western European cartoon from the 1920s to the 1970s, dedicated to the theme of chess: political, social and sporting aspects." Scientific and analytical journal Burganov House. The space of culture 20, no. 6 (2024): 37–61. https://doi.org/10.36340/2071-6818-2024-20-6-37-61.

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The author analyzes a number of cartoons by European and American artists dedicated to chess themes; two types of caricatures on the themes of the chess game were noted. The one of them relates to the field of political caricature (L. G. Illingworth), the other fully reveals the essence of social phenomena in humorous everyday sketches (Z. Lengren, H. Bidstrup). Both types are played out using metaphors and analogies, respectively related to sports. The article also draws attention to this type of caricature as a series of sequential episodes, similar to a comic strip. Individual drawings by A

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Kotick, Andrew. "Le Rire and the Meaning of Cartoon Art in Fin-de-Siècle France." French Politics, Culture & Society 41, no. 2 (2023): 1–25. http://dx.doi.org/10.3167/fpcs.2023.410201.

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Abstract As the foremost organ of the French satirical and illustrated press, the weekly Le Rire captivated a broad reading public in the final decade of the nineteenth century. At the crossroads of commercial entertainment and mass media, Le Rire sought to champion caricature and comic illustration as art forms worthy of serious merit and to make humor a powerful tool for political, cultural, and social commentary. This article aims to assess the periodical's impact in its time, and furthermore, contends that Le Rire was a determinative force in reshaping public mores toward comedy and satire

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Gilbert, Christopher J. "Caricature and the Colonization Machine: The Nib's “Empire” Issue as a Comic Stretch of the Imagination." Studies in American Humor 7, no. 2 (2021): 347–76. http://dx.doi.org/10.5325/studamerhumor.7.2.347.

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Abstract To see comicality in the reach of imperialism is to see the rhetorical force of empire itself in collective imaginations. This article approaches matters of empire through the lens of caricature. More specifically, it frames caricature as a rhetorical counterforce to images and ideas of imperialism. Comics publication the Nib put out an “Empire” issue in 2019. In an effort to figure out how a comic stretch of the imagination represents empire across histories, geographic locations, and cultural milieus for what it is—a mechanism of disimagination—I explore several standout comics and

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Lee, Judith Yaross. "Comic Empires: Imperialism in Cartoons, Caricature, and Satirical Art." Studies in American Humor 8, no. 1 (2022): 193–97. http://dx.doi.org/10.5325/studamerhumor.8.1.0193.

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Hewitson, Mark. "The Violent Art: Caricatures of Conflict in Germany." Cultural History 6, no. 1 (2017): 57–79. http://dx.doi.org/10.3366/cult.2017.0135.

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War furnishes a – perhaps the – classic case of ‘black humour’, which is understood here in the broad sense, not merely as the humour of the gallows or the cheating of death, but humour deriving from a confrontation with suffering or death, either as a victim or a perpetrator. War cartoons relied on the manipulation of images for comic effect, which – at least until the absurdist experiments of the Dada and Surrealist movements during and after the First World War – appeared impossible in photography, painting and cinematography. Caricature permitted artists simultaneously to conjure up, simpl

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SOPER, KERRY. "From Swarthy Ape to Sympathetic Everyman and Subversive Trickster: The Development of Irish Caricature in American Comic Strips between 1890 and 1920." Journal of American Studies 39, no. 2 (2005): 257–96. http://dx.doi.org/10.1017/s0021875805009710.

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Observed from a distance, the prevalence of ethnic stereotyping in late nineteenth-century and early twentieth-century cartooning in the United States is disturbing. All one can see, initially, is that turn-of-the-century readers seemed to enjoy seeing blacks, Native Americans, and non-Anglo immigrants reduced to simplistic caricatures and made to say and do outrageously stupid things. The Distorted Image, the Balch Institute's exposé on the evils of ethnic caricature, agrees with this assessment, suggesting that “the strips from the early years of this century [the twentieth] are inevitably s

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Maidment, Brian. "Comic Empires: Imperialism in Cartoons, Caricature and Comic Art ed. by Richard Scully and Andrekos Varnava (review)." Victorian Periodicals Review 56, no. 2 (2023): 312–14. http://dx.doi.org/10.1353/vpr.2023.a912323.

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Rinehart, Robert E., and Jayne Caudwell. "Sport–war cartoon art." Media, War & Conflict 11, no. 2 (2017): 223–43. http://dx.doi.org/10.1177/1750635217696435.

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In this article, We explore the extent to which political cartoons and comic strips – as mediated public and political visual art, the ‘ninth art’ according to Groensteen’s The System of Comics (2007[1999] – subvert/confirm institutional values of so-called Western democracies during times of war. Our concern, as sociologists of sport, is with the ways dominant sporting sensibilities are (re)presented in cartoon art, and how sport itself is conflated with patriotic ideologies of war as a vehicle for propaganda. In particular, We interrogate how competitive-sporting ideals are aligned with war

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Mardari, Daniela, and Lucia Adascalița. "SERGIU PUICĂ – MAESTRUL GRAFICII DE CARTE PENTRU COPII." Magazin Bibliologic 3-4, 2021 (December 9, 2021): 145. https://doi.org/10.5281/zenodo.5769613.

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The paper presents the results of the study on activity of Sergiu Puică, famous painter and illustrator. The full member of the Union of Fine Artists of the Republic of Moldova since 2001, throughout his career he was acclaimed by critics for his works, which include not only book illustration, but also cartoons, charges, scenography and graphics. For his lifelong activity he was awarded with the "Igor Vieru" Prize in 2012. Throughout the time he made illustrations for more than 100 books, among them the best known are as following: "Beautiful is our language" (1996) by Gri

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ROWDEN, CLAIR. "Memorialisation, Commemoration and Commodification: Massenet and Caricature." Cambridge Opera Journal 25, no. 2 (2013): 139–63. http://dx.doi.org/10.1017/s0954586713000049.

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AbstractThis article addresses the physical presence of Jules Massenet in the media during the Third Republic in France through the lens of the caricatural press and the cartoon parodies of his operas which appeared in journals such asLe Journal amusantandLe Charivari. Although individual works were rarely outright successes in critical terms during his lifetime, Massenet's operas always stimulated debate and Massenet, as a figure head for a national art, was revered by both the state and its people. Drawing on theories of parody and readership, I argue that despite the ‘ephemeral’ nature of t

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Göktürk, Deniz. "Jokes and Butts: Can We Imagine Humor in a Global Public Sphere?" PMLA/Publications of the Modern Language Association of America 123, no. 5 (2008): 1707–11. http://dx.doi.org/10.1632/pmla.2008.123.5.1707.

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In his essay titled “Drawing Blood” for Harper's magazine in June 2006, written as a response to the Muhammad cartoon affair, Art Spiegelman argued convincingly that a cartoon is, first and foremost, a cartoon. It sounds straightforward, but is it really? Following Spiegelman, we can define caricatures as charged or loaded images that compress ideas into memorable icons, namely clichés. A cartoon must have a point, and a good cartoon can change our perspective on the ruling order. Spiegelman opens his discussion with classical caricatures such as Honoré Daumier's 1831 depiction of King Louis-P

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Bakriyyeh, Rajaa. "Body Language in Children's Literature: Cartoon Art and Its Dramatic Referral." International Journal for Humanities & Social Sciences (IJHS) 2, no. 2 (2021): 45–50. http://dx.doi.org/10.69792/ijhs.22.2.8.

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This study deals with the impact of artistic transformation in children's literature on the activation of the child's dramatic sense in his relationship with the text via cartoon art as a sensory translation of body language. The study will present three Palestinian literary model writers from three generations: Tawfiq Fayyad, in his story Haifa was al-Nawras; Yahya Yakhluf, in his story Saq al-Qasab, and Najwa Zoreq, in her story Imlaq Amir Al-Saghir. The three models adopt an artistic method that is specific to the publishing house that published their stories. The research methodology tries

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Medvedeva, Nataliya. "British Political Cartoon about Irish Border Issue under Brexit." ISTORIYA 13, no. 2 (112) (2022): 0. http://dx.doi.org/10.18254/s207987840019607-6.

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The article examines the features of the reflection of the problem of the Irish border in the British political caricature. The issue of the border between the United Kingdom and the Republic of Ireland became one of the defining ones in the discussion of the Brexit process. The second aspect of the border problem emerged when a transparent Irish border mechanism was proposed, which in turn threatens to create a semblance of a border between Northern Ireland and the rest of the Kingdom. The positions of the negotiating parties and political parties within the Kingdom were divided. The British

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Kidder, Orion Ussner. "Fire in the jungle: Genocide and colonization in Russell and Pugh’s The Flintstones." Studies in Comics 11, no. 2 (2020): 305–20. http://dx.doi.org/10.1386/stic_00032_1.

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Mark Russell and Steve Pugh’s The Flintstones comic book (2016‐17) addresses US colonialism much more directly than most popular media but focalizes its story through a white, settler American. Thus, it represents an unwillingness and/or inability to think outside of that narrow perspective, i.e. while it is anti-colonial, it is not postcolonial. The book was published through a licensing agreement between Hanna-Barbara and DC Comics in which several Hanna-Barbera cartoons were combined with contrasting genres to create grim and/or mature stories. DC’s The Flintstones, in particular, takes on

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Vann, Michael G. "Caricaturing 'The Colonial Good Life' in French Indochina." European Comic Art 2, no. 1 (2009): 83–108. http://dx.doi.org/10.3828/eca.2.1.6.

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André Joyeux's La Vie large des colonies ['The Colonial Good Life'] is an insider's portrait of the French colonial encounter in Southeast Asia. Published in Paris in 1912 but most likely penned in Saigon, the collection of cartoons explores the racial order of the colony. Although the artist critiques many aspects of the colony and highlights certain gross injustices, such as the coloniser's sexual predation and physical violence, he also articulates many of the bluntly racist French stereotypes of the Vietnamese, Chinese and other Asians in the colony. Joyeux, as an artist and as an art teac

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Ismail@Kamal, Julina, and Md Salleh Yaapar. "The Hermeneutic of the Malay Comic: Unveiling the Symbolism of Love in Selendang Siti Rugayah." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 1–12. http://dx.doi.org/10.21315/ws2020.19.1.

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A comic is a form of sequential art that incorporates the integrated textual and visual aspects to reveal the desired meaning. It involves storytelling techniques with narrative elements as found in conventional literary works. Nowadays, comic art is flourishing in Malaysia with the advent of abundant comics from various old and new local authors. The uniqueness of Rejabhad, who was widely known as the King of Malaysian Cartoon, allows the researcher to analyse his comic works in the aspects of textual and visual designs. Prior studies have only discussed the outer layer of Malay comics. In fa

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Hryshchenko, Kateryna. "Caricatures in russian publicism of the second half of the 19th century: by the materials of N. B. Gersevanov." Universum Historiae et Archeologiae 2, no. 2 (2020): 197. http://dx.doi.org/10.15421/26190214.

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The aim of the study was the desire to determine the place of the visual artistic and satirical component in the creative heritage of N. B. Gersevanov and the consideration of the caricature as a genre of journalism and a historical source in public opinion research of the 1850–1860s. Historiography. The history of the caricature was mainly of interest to art critics and artists. The sociocultural and political context of their appearance was considered, but in passing. The question of the place of caricature in the work of N. B. Gersevanov is raised for the first time. Sources. The set of sou

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FANDIO, Pierre. "Problématique de l’altération discursive dans la presse camerounaise : de la pictographie médiatique comme mise en mots du tiers-parlant des « émeutes urbaines de la faim » de 2008." ALTRALANG Journal 2, no. 01 (2020): 175–96. http://dx.doi.org/10.52919/altralang.v2i01.56.

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ABSTRACT: The “hunger riots” that hit most African countries in 2008 gave rise to Cameroon, with a prolific discursive production which media relayed abundantly. Postulating that "media discourses are essentially 'mediating' discourses of other discourses" (Moirand, 2006), this paper questions the mediation manifested in and with the "pluricode discourse" of comic press. Inspired by Peytard’s "new considerations on the semiolinguistics of alteration", the study, which is based on a corpus of caricature taken from newspapers published between February 13 and March 13, 2008, states that "any wor

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Srivastava, Aparna. "COLOR SENSITIVITY IN THE LIFE OF CARTOONIST MARIO DE MIRANDA." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3683.

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Art is the best medium for expressing the artist's conscience. Colors have had a prominent place in the elements of art since the ancient era. The relevance of communicativeness of articulation through the use of colors in any art genre has been well known since time immemorial. The new genre of art, cartoons or caricature art, does not directly affect the public but also attracts more people than any other genre. In this art mode, only black thick lines are used, but if the colors are used properly in this mode, its transmitting power becomes even more firm. A similar experiment in this conte

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Tormakhova, A. M. "MEDIA TECHNOLOGIES AND SCIENCE ART IN THE CONTEXT OF MODERN CULTURAL AND ART PRACTICES." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 98–101. http://dx.doi.org/10.17721/ucs.2020.1(6).19.

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Media in the 21st Century Cultural Area is an integral component of artistic practices. Currently, a new direction is emerging – science art, which combines art, technology and scientific development. The leading feature of contemporary music is its transformation, which is due to the changing channels of artistic communication that set certain parameters. Music plays a very important role in the space in which it is performed, both the material itself and the musicians. A promising area of science-art development is the emergence of software and equipment that allows us to "resurrect" the sta

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Karp, Amy. "Jews in America: A Cartoon History, and: Jews and American Comics: An Illustrated History of an American Art Form (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 29, no. 2 (2011): 174–77. http://dx.doi.org/10.1353/sho.2011.0071.

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Kalyani, Hazarika. "Telling Stories Through Pictures: A Reading of Some Select Indian Children's Narratives." Criterion: An International Journal in English 16, no. 2 (2025): 133–46. https://doi.org/10.5281/zenodo.15315815.

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The demand and choices of children’s texts have increased rapidly in a few years.  Likewise, parents also divert the mind of their children’s with cartoon magazines and comics which keep children entertained and happy. Children books typically contain articles, pictures, and letters which help children to grab things easily. Children always learn things rapidly at an earlier age when learn through images, pictures, graphics or animated form. There are many ways to communicate a story, one can tell it, sing it, act it, write it, film it and can draw it. Each form of storyt

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Demina, Olga V. "Linguistic and Stylistic Means of Satire Construction in the Animated Series." RUDN Journal of Language Studies, Semiotics and Semantics 12, no. 4 (2021): 1124–46. http://dx.doi.org/10.22363/2313-2299-2021-12-4-1124-1146.

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The study is devoted to the description of linguistic and stylistic means of satire construction in modern American animated series. The article deals with a detailed analysis of the linguistic and stylistic means that actualize the satiric and ironic meanings for a satire creation based on the examples of American series. Cartoonists often resort to satire as a unique genre of art to express direct or indirect criticism of the structure of modern society. Modern satirical cartoons contain vivid elements of parody and caricature. An obligatory consequence of satirical creativity is exposure an

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Putri, Andrissi, Miftahul Munir, and Setyo Priyo Nugroho. "Ekspresi Wajah Sebagai Narasi Memori dalam Lukisan." Fenomen: Jurnal Fenomena Seni 1, no. 1 (2023): 55–65. https://doi.org/10.24821/fenomen.v1i1.8658.

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Emosi pada memori dapat tersirat melalui ekspresi dan perilakunya di saat proses pemanggilan ingatan tersebut. Meskipun ekspresi yang menyiratkan emosi tersebut sulit untuk dibaca karena bentuknya yang kompleks, namun ada pola otot tertentu yang dapat mengelompokan ekspresi tersebut menjadi 7 emosi yang ada yakni micro-expression. Ekspresi tadi diwujudkan menjadi lukisan yang merepresentasikan emosi pada memori itu dengan menggunakan gaya figuratif komik dan kartun yang dirasa cocok karena kegunaannya untuk menarasikan gagasan dan mengfokuskan bentuk-bentuk yang penting. Meski begitu lukisan b

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Budiwirman, Budiwirman, Syeilendra Syeilendra, Ary Ramadhan, and Syafei Syafei. "SENI TRADISIONAL DALAM SENI MUSIK MODREN: ANALISIS BERDASARKAN NILAI PENDIDIKAN." Gorga : Jurnal Seni Rupa 12, no. 1 (2023): 108. http://dx.doi.org/10.24114/gr.v12i1.27135.

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Traditional arts that have high artistic value must always be preserved from extinction. In order to maintain the popularity of traditional art in Indonesia, it is necessary that artists, teachers, and society understand it deeply. Every fine arts artist, teacher, and community must have a sense of nationalism towards traditional art in order to be able to maintain and become a stronghold of traditional art itself. This study aims to rediscover the values of traditional culture that are spread in several regions in Indonesia with the hope that it can be absorbed into modern art so that the val

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Smith, Raymond W. "ANIMATION, CARICATURE, AND GAG AND POLITICAL CARTOONS IN THE UNITED STATES AND CANADA: AN INTERNATIONAL BIBLIOGRAPHY (Bibliographies and Indexes in Popular Culture, Number 3). John A. LentCOMIC ART OF EUROPE: AN INTERNATIONAL, COMPREHENSIVE BIBLIOGRAPHY (Bibliographies and Indexes in Popular Culture, Number 5). John A. LentCOMIC BOOKS AND COMIC STRIPS IN THE UNITED STATES: AN INTERNATIONAL BIBLIOGRAPHY (Bibliographies and Indexes in Popular Culture, Number 4). John A. Lent." Art Documentation: Journal of the Art Libraries Society of North America 14, no. 1 (1995): 32–33. http://dx.doi.org/10.1086/adx.14.1.27948714.

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"Semiotics of the Image in Comics of Saudi Society سيميائية الصورة في الرسوم الهزلية لدى المجتمع السعودي". المجلد 14 عدد 2 2021 14, № 2 (2021): 117–52. http://dx.doi.org/10.47016/14.2.1.

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Abstract The aim of this study is to reveal the semantic interaction and aesthetic construction in the visual image in the comics of the "Saudi Caricature" by investigating the image semiotics and the effectiveness of rhetorical discourse in these comics. The researchers used a descriptive approach. This study takes two directions. The first is concerned with the semiotic importance of the visual image in storyboards and the iconic and symbolic representation in its composition. The other direction deals with the effectiveness of rhetorical discourse in the visual image of comics of "cartoon a

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Kar, Jashadeep, and Saday Chandra Das. "SATIRE AND ITS RHYTHM THROUGH THE LENS OF CARICATURE AND CARTOON PRACTICES IN INDIA: A REVIEW." ShodhKosh: Journal of Visual and Performing Arts 5, no. 1 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.655.

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The major key factor of modern ‘caricature’ art has been not only constricted to only the voice of society and the political domain, neither is it still subjected to newspapers, magazines and journals, banners, templates, and posters but it is legitimated to be spontaneous equally an ambiguous ‘etiology’ of art practice having its inseparable bonding through 21st century as ‘digital expression’ as well. Caricature art has always been hands-up with its impact on the human psyche or vice-versa as well and its elongated limbs hold a tremendous grip over any fragile, discursiveness, and expectatio

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"Editorial." European Comic Art 10, no. 1 (2017): v—vi. http://dx.doi.org/10.3167/eca.2017.100101.

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With this issue, European Comic Art, the first peer-reviewed academic journal on comics, moves into its tenth year of existence. Over the past few years, the field has become more crowded, as scholarly interest in comics has expanded, but the quality and quantity of submissions that we receive is ever increasing. We are proud to have published articles by major comics theorists, as well as by emerging young researchers, and to have contributed to debates on formal, graphic and narrative resources of the medium; temporality and duration in comics; adaptation and the mutual influence between com

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"Educational Messages in Cartoons and Caricatures by Malaysian Cartoonists." Kupas Seni, no. 13 (April 18, 2025): 98–108. https://doi.org/10.37134/kupasseni.vol13.sp.10.2025.

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Cartoonists utilise dialogue, metaphors, and visual elements to effectively convey a message that connects with the intended audience. This study aims to understand the messages and to investigate the visual elements presented by Malaysian cartoonists in their cartoon and caricature artworks. Cartoons and caricature artwork have been selected from four Malaysian cartoonists namely Datuk Lat, Kazim, Maro, and Keith. The qualitative method was carried out and content analysis was employed to obtain data from secondary data by implementing the Art Criticism approach and Semiotic theory. Based on

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Hudoshnyk, O. "Трансмедіальні наративи коміксової журналістики: світовий та український досвід". 20 лютого 2020. https://doi.org/10.15421/292005.

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Continuing the research of the world and Ukrainian documentary comics, this article presents comics journalism in the context of theoretical approaches, genre and thematic definitions and characteristics. Comics journalism is considered as an umbrella term, allowing to combine interactive comics-reporting, caricature, patch and graphic novel into a single space of graphic storytelling. The transmediality of the comics, generated by the visualcentricity of the modern world and the tendency to mix different forms and styles, provides journalistic materials with empathetic emotionality, intertext

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fdsgnbv. "Sonic the Hedgehog Gets Clever Stop-Motion Cartoon With Fridge Magnets." March 28, 2021. https://doi.org/10.5281/zenodo.4642946.

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The Sonic the Hedgehog series is well known for its colorful and imaginative zones, many of which have ties to real world locations such as Sonic 2's Casino Night Zone. Now, thanks to a stop motion animation shared on the blue blur's official Twitter account, fans can see what a Sonic refrigerator zone might look like. When the Sonic Twitter account isn't teasing EA Games or other competitors, it is often sharing unique hedgehog related animations and art pieces. A quick scroll through the account's feed reveals dancing Eggman animations and a long list of Sonic memes, with the

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Sari Manik, Rudang Mayang. "The Effectiveness of Comic Strip As Media to Improve the Students’ Reading Comprehension on Narrative Text of MTs Ar-Rahman Langkat." KnE Social Sciences, August 1, 2019. http://dx.doi.org/10.18502/kss.v3i19.4918.

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In this research, the writer would deal with reading skill based on the consideration that success in reading will be very important for students both for academic and vocational advancement. For mor than a quarter of a century language teachers have been dominated by the idea that speech is the primary from of languange, writing is secondary. So, it is logic that there is such a common sense that teaching languange is nothing more than a remedial stage of preparation to the more rigorous. Moreover, reding is regarded as somewhat dull because today’s generat

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Maguire, Emma. "Home, About, Shop, Contact: Constructing an Authorial Persona via the Author Website." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.821.

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Introduction Let me start by telling you about my “first-world problem”: I study girls’ autobiographical practice in digital spaces but the conceptual tools in my field have been developed chiefly in order to read and analyse printed books. Girls’ digital engagements with self-representation—such as web comics and blogs—are fascinating texts and I want to know what they can tell us about how girls’ written selves connect in complex ways to broader cultural constructions of girlhood. The Greek roots of the word autobiography autos, bios, and graphe (self, life, writing) inform the kinds of appr

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Kangas, Sonja. "From Haptic Interfaces to Man-Machine Symbiosis." M/C Journal 2, no. 6 (1999). http://dx.doi.org/10.5204/mcj.1787.

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Until the 1980s research into computer technology was developing outside of a context of media culture. Until the 1970s the computer was seen as a highly effective calculator and a tool for the use in government, military and economic life. Its popular image from the 1940s to 1950s was that of a calculator. At that time the computer was a large machine which only white lab-coated engineers could understand. The computer was studied as a technical instrument, not from the viewpoint of the user. The peculiar communication between the user -- engineers at this point -- and the machine was describ

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Ensminger, David Allen. "Populating the Ambient Space of Texts: The Intimate Graffiti of Doodles. Proposals Toward a Theory." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.219.

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In a media saturated world, doodles have recently received the kind of attention usually reserved for coverage of racy extra marital affairs, corrupt governance, and product malfunction. Former British Prime Minister Blair’s private doodling at a World Economic Forum meeting in 2005 raised suspicions that he, according to one keen graphologist, struggled “to maintain control in a confusing world," which infers he was attempting to cohere a scattershot, fragmentary series of events (Spiegel). However, placid-faced Microsoft CEO Bill Gates, who sat nearby, actually scrawled the doodles. In this

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Hand, Richard J. "Dissecting the Gash." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2389.

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Given that the new advances in technology in the 1980s had a major impact on the carefully constructed myth of authenticity in horror and pornography, ranging from flawless special effects at one extreme to the idea of the handheld voyeur movie at the other, it is rather ironic that the key progenitor to the erotic-grotesque form is a long-established and in some ways basic form: the pen and paper art of manga. This medium can be traced back to pillow books and the illustrated tradition in Japanese culture – a culture where even written language has evolved from drawings rather than alphabetic

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M.Butler, Andrew. "Work and Masculine Identity in Kevin Smith's New Jersey Trilogy." M/C Journal 4, no. 5 (2001). http://dx.doi.org/10.5204/mcj.1931.

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There's a moment in Chasing Amy (Kevin Smith, US, 1997) when the character Banky Edwards defends his masculinity. He and childhood friend Holden McNeil are artists who work on a comic named Bluntman and Chronic; Holden produces the pencil drawings which Banky inks over and colours in. When confronted with the suggestion that all he does is tracing, Banky first defends himself, and then resorts to physical and verbal violence: "I'LL TRACE A CHALK LINE AROUND YOUR DEAD FUCKING BODY, YOU FUCK ... YOUR MOTHER'S A TRACER!" (Smith 182, 184). Banky is defending the work that he does, the art, from ch

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Zienkiewicz, Joanna. "“The Right Can’t Meme”: Transgression and Dissimulation in the Left Unity Memeolution of PixelCanvas." M/C Journal 23, no. 3 (2020). http://dx.doi.org/10.5204/mcj.1661.

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Disclaimer: The situation on PixelCanvas is constantly changing due to raids from both sides. The figures in this article represent the state as of April 2020. In the politicized digital environment, the superiority of the alt-right’s weaponization of memes is often taken for granted. As summarized in the buzzword-phrase “the left can’t meme”, the digital engagements of self-identified leftist activists are usually seen as less effective than the ones of the right: their attempts at utilizing Internet culture described as too “politically correct” and “devoid of humour”. This supposedly “immut

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