Journal articles: 'Caricatures and cartoones'

1

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

2

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 (October 2008): 1707–11. http://dx.doi.org/10.1632/pmla.2008.123.5.1707.

Full text

Abstract:

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-Philippe as Gargantua and George Grosz's 1926 attack on the “Pillars of Society” (“Stützen der Gesellschaft”) as beer-drinking, pamphlet-reading, swastika-wearing men without brains. Spiegelman acknowledges these cartoonists as “masters of insult,” who often had to face trial or imprisonment for their transgressions (45). The question is whether the twelve cartoons of Muhammad, published by the Danish newspaper Jyllands-Posten on 30 September 2005, are in any way compatible with the great tradition of caricature.

APA, Harvard, Vancouver, ISO, and other styles

3

Baltodano Román, Gabriel. "Fisiognomía y fealdad cómica en la caricatura política de Enrique Hine (Physiognomy and Comic Ugliness in the Political Cartoons of Enrique Hine)." LETRAS 1, no. 59 (February 6, 2017): 155. http://dx.doi.org/10.15359/rl.1-59.7.

Full text

Abstract:

Este artículo trata la caricatura política; en particular, el significado ideológico construido mediante dos procedimientos empleados en la sátira política de combate contra el liberal Ricardo Jiménez Oreamuno, a saber: la comparación fisiognómica (con figuras míticas y animales) y la fealdad cómica (Bergson) como rigidez mental, moral e intelectual. Se centra en las caricaturas del artista gráfico Enrique Hine Saborío, editor del periódico humorístico El Cometa.This article addresses political cartoons, and focuses on the ideological meaning constructed using two procedures found in political protest satire against the Costa Rican liberal Ricardo Jiménez-Oreamuno. They include the physiognomical comparison (with mythical figures and animals) and comic ugliness (Bergson) as mental, moral and intellectual rigidity. This study examines on the caricatures of the graphic artist Enrique Hine-Saborío , editor of the comic Costa Rican newspaper El Cometa.

APA, Harvard, Vancouver, ISO, and other styles

4

Cunningham, Anthony. "Moral Addicts." Dialogue 33, no. 2 (1994): 223–36. http://dx.doi.org/10.1017/s0012217300010507.

Full text

Abstract:

Any good ethical theory aspires to provide as comprehensive a guide to moral value and motivation as possible. Within modern moral philosophy, conceptions of moral value have been dominated largely by considerations of justice and concerns for the common good, and moral shortcomings have been accounted for primarily by appeal to ignorance, weakness, indifference or outright hostility to moral values. Yet the ways in which we fall short are far more complicated. By discussing one interesting example here, I hope to provide some support for the claim that our conceptions of moral value and motivation need enrichment. In making my case, I utilize a character who is more like a caricature than a figure from ordinary life. This touch of hyperbole is deliberate. Reflect for a moment on the function of a good cartoon caricature. By exaggerating physical features, it draws our attention to characteristics that go unnoticed in their normal context. Whereas cartoon caricatures aim at amusement, my goal is to distil some of our perceptions of moral excellence.

APA, Harvard, Vancouver, ISO, and other styles

5

Abdul Latif, Roslina, and Sojoud Elgarrai. "The Power of Political Cartoons: A Case Study of Zunar’s ‘Twit Twit Cincin’." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (March 31, 2021): 146–80. http://dx.doi.org/10.17576/jkmjc-2021-3701-09.

Full text

Abstract:

The following study of selected works of art by Zulkiflee Anwar Haque or better known as Zunar, a Malaysian political cartoonist from his book ‘Twit Twit Cincin’. This study is guided by the visual rhetoric theory that has three areas of study - nature, function and evaluation. The study looks at selected cartoons that addressed political figures, politics and social issues. The research looked at the way the caricatures portrayed Malaysian politicians, his perspectives on the political and social issues and how these issues were addressed. The researcher also looked at metaphors used by the cartoonist to communicate his ideas to the audiences. The study found that Zunar’s portrait of Malaysian politicians is not always positive. He is critical but not in an inflammatory way. The metaphors found in Zunar’s work are found to be common themes and simple to understand. They are also very well-known, visually appealing and a tool to tie his messages together and to get his ideas across. Zunar has managed to resist the oppression of the state through his cartoons while looking at institutional reform, puts forth an alternative articulation of history and nation that juxtapose the current government. Keywords: Zunar, political cartoonist, political and social issues, Twit Twit Cincin, metaphors.

APA, Harvard, Vancouver, ISO, and other styles

6

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 (October 12, 2020): 197. http://dx.doi.org/10.15421/26190214.

Full text

Abstract:

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 sources was formed according to the principle of informational correspondence to the goal and consists of newspaper articles – reviews by N. B. Gersevanov on military cartoons and an album of cartoons “The Adventures of the Novgorod resident Fedora Ivanovna”, published under the pseudonym “Durov”. The materials involved cover 1858–1860. both the critic and the creator of this genre convincingly demonstrate the place of caricature in journalism of N. B. Gersevanov. Using the methods of historiographic and source analysis and synthesis allowed us to identify the state of development of the issue in the historical literature and realize the goal. The main result was the identification of thematic variability of the cartoons of N. B. Gersevanov and the reactions of representatives of the military community to them. Based on the content analysis, the contents of the caricature album “Adventures of the Novgorod resident Fedora Ivanovna” were investigated. The texts and the cartoons published by Gersevanov were a reaction to harsh criticism by the public of the Russian army and military after the defeat of the Russian Empire in the Crimean War of 1853–1856. Since 1812, wars have become a powerful impetus for development for the Russian caricature tradition. The humorous genre was not inherent in the work of Gersevanov, moreover, he considered it dangerous for military discipline. Thus, the appeal to the caricature of the socio-political and literary issues was a kind of experiment for the author. Despite economic success, the final goal was not achieved, the vices were not overcome. Gersevanov became convinced of the futility of ridiculing as a method of education, therefore, he did not turn to the humorous genre anymore. The conclusion is that the hermeneutic analysis of the texts and the contexts of their appearance allowed us to significantly expand our understanding of the multifaceted activities of such a little-explored personality as N. B. Gersevanov and to reveal the informational potential of the cartoon as a historical source. The type of article: analytical.

APA, Harvard, Vancouver, ISO, and other styles

7

Flores Borjabad, Salud Adelaida. "Ali Ferzat: De la caricatura comunicativa en papel a la caricatura activista en los medios digitales." Ámbitos. Revista Internacional de Comunicación, no. 46 (2019): 108–32. http://dx.doi.org/10.12795/ambitos.2019.i46.07.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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 (August 2005): 257–96. http://dx.doi.org/10.1017/s0021875805009710.

Full text

Abstract:

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 suffused with crude, even gross stereotypes” in which blacks and ethnic immigrants are “maligned and mistreated with blithe insouciance.” However, a closer inspection of particular characters, mediums, and creators, reveals that there was greater complexity to these “crude” images – a rich history, in fact, of shifting meanings and uses. There were, of course, some blatantly racist depictions of ethnic minorities in cartoons and comic strips during this period, but there was also a complex spectrum of ethnic characters who played out shifting comedic and social roles. By properly contextualizing some of these cartoons – considering how meanings and uses changed according to where the cartoons appeared, who created them, and who read them – many images that initially seem just like more entries in a long line of gross stereotypes begin to reveal layered, ambivalent, and even sympathetic codings.

APA, Harvard, Vancouver, ISO, and other styles

9

Vukičević, Marko. "Depiction of the Enemy in Croatia During World War I." Eikon / Imago 9 (July 3, 2020): 341–61. http://dx.doi.org/10.5209/eiko.73327.

Full text

Abstract:

The aim of this paper is to analyse and compare the visual representation and iconography in works depicting the enemy in Croatian visual arts during World War I. The article encompasses research on unpublished archival sources and contemporaneaous press. The works of renowned Croatian artists, who were enlisted or volunteered for frontline duty are analysed, as are the works of art presented to the Croatian general public through graphics, cartoons and caricatures in the then popular press. Comparison of war-themed images shows differences in the visualisation of the enemy. The generally accepted belief that the enemy was visually satanised and ridiculed actually only applies to caricatures and cartoons.

APA, Harvard, Vancouver, ISO, and other styles

10

POLLARD, LISA. "Family Follies." International Journal of Middle East Studies 39, no. 4 (October 30, 2007): 522–24. http://dx.doi.org/10.1017/s0020743807071012.

Full text

Abstract:

“The wife: I bet your friends envy you your domestic happiness!” Reprinted with permission of Mohammed Elchamaa.This cartoon comes from a 1948 edition of the Egyptian periodical Akhir Saʿa. I happened across it in Cairo, as part of some exploratory research into the fate of the female image of the Egyptian nation-state that was so central to the 1919 revolution. In previous inquiries, I had noticed that “lady Egypt” or “mother Egypt” or “Egypt as a woman,” to use historian Beth Baron's expression, lost pride of place in popular periodicals as 1919 gave way to nominal independence and nation building. By the late 1920s, cartoon and caricature space was more frequently dedicated to men engaged in laying the foundations of new political, legal, and educational systems, as well as erecting the buildings that would house them. Throughout the 1930s, political caricatures also frequently lampooned prominent Egyptian men for their behavior in the institutions that they had been active in creating. In the popular press, the reified female figure of the Egyptian nation was all but usurped by the men who built the state (and who seemed determined to keep Egyptian women out of the body politic).

APA, Harvard, Vancouver, ISO, and other styles

11

Tiggelen, Brigitte Van, Danielle Fauque, and Fabienne Meyers. "London 1947: A Caricature." Chemistry International 41, no. 3 (July 1, 2019): 20–21. http://dx.doi.org/10.1515/ci-2019-0307.

Full text

Abstract:

Abstract The caricature published in Chemistry and Industry, 2 August 1947, is Fred May’s impressions of the luncheon offered to the XIth International Congress of Pure and Applied Chemistry at the May Fair Hotel, London, 18 July 1947 by the Society of Chemical Industry to distinguished chemists on the occasion of its centennial [1]. Fred May (1891-1976) was a caricaturist and painter, who sent his first cartoons from the front in 1917. May insists on the strenuous time the toastmaster had during the dinner that welcomed many prominent British and international figures in the chemical sciences and industry. Dr Leslie H. Lampitt, president of the SCI, chairman of the Congress and treasurer of IUPAC (1947-1957) “expressed that welcome in a very homely way” [1]. William Hulme Lever, 2nd Viscount Leverhulme (1888-1949), cofounder of Unilever, a past president of the SCI, acted as president of the Congress [2].

APA, Harvard, Vancouver, ISO, and other styles

12

Moscovitch, Morris, Gordon Winocur, and Marlene Behrmann. "What Is Special about Face Recognition? Nineteen Experiments on a Person with Visual Object Agnosia and Dyslexia but Normal Face Recognition." Journal of Cognitive Neuroscience 9, no. 5 (October 1997): 555–604. http://dx.doi.org/10.1162/jocn.1997.9.5.555.

Full text

Abstract:

In order to study face recognition in relative isolation from visual processes that may also contribute to object recognition and reading, we investigated CK, a man with normal face recognition but with object agnosia and dyslexia caused by a closed-head injury. We administered recognition tests of up right faces, of family resemblance, of age-transformed faces, of caricatures, of cartoons, of inverted faces, and of face features, of disguised faces, of perceptually degraded faces, of fractured faces, of faces parts, and of faces whose parts were made of objects. We compared CK's performance with that of at least 12 control participants. We found that CK performed as well as controls as long as the face was upright and retained the configurational integrity among the internal facial features, the eyes, nose, and mouth. This held regardless of whether the face was disguised or degraded and whether the face was represented as a photo, a caricature, a cartoon, or a face composed of objects. In the last case, CK perceived the face but, unlike controls, was rarely aware that it was composed of objects. When the face, or just the internal features, were inverted or when the configurational gestalt was broken by fracturing the face or misaligning the top and bottom halves, CK's performance suffered far more than that of controls. We conclude that face recognition normally depends on two systems: (1) a holistic, face-specific system that is dependent on orientationspecific coding of second-order relational features (internal), which is intact in CK and (2) a part-based object-recognition system, which is damaged in CK and which contributes to face recognition when the face stimulus does not satisfy the domain-specific conditions needed to activate the face system.

APA, Harvard, Vancouver, ISO, and other styles

13

Varat, Deborah. "“Their New Jerusalem”: Representations of Jewish Immigrants in the American Popular Press, 1880–1903." Journal of the Gilded Age and Progressive Era 20, no. 2 (April 2021): 277–300. http://dx.doi.org/10.1017/s1537781420000766.

Full text

Abstract:

AbstractMillions of immigrants arrived in the United States during the Gilded Age, drastically altering the ethnic character of the American citizenry. This dramatic social change was met with mixed reactions from the native-born population that were vividly communicated in the popular press. Cartoonists for newspapers and magazines across the country developed a language of caricature to identify and distinguish among ethnic groups and mocked new arrivals in imagery that ranged from mild to malicious. One might assume that the masses of Eastern European Jews flooding into the country (poor, Yiddish-speaking, shtetl-bred) would have been singled out for anti-Semitic attack, just as they were in Europe at the time. However, Jews were not the primary victims of visual insults in America, nor were the Jewish caricatures wholly negative. Further, the broader scope of popular imagery, which, in addition to cartoons, includes a plethora of illustrations as well as photographs, presents a generally positive attitude toward Jewish immigrants. This attitude aligned with political rhetoric, literature, newspaper editorials, and financial opportunity. This article will propose a better alignment of the visual evidence with the scholarly understanding of the essentially providential experience of Jews in America during this period.

APA, Harvard, Vancouver, ISO, and other styles

14

Flores Borjabad, Salud Adelaida. "Contemporary terrorism in Syria through political cartoons." IROCAMM-International Review Of Communication And Marketing Mix 2, no. 1 (2019): 102–14. http://dx.doi.org/10.12795/irocamm.2019.v02.i01.10.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

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

Full text

Abstract:

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 teacher, contributed to the development of cartoon and caricature as a medium in Vietnam, which would eventually be used in the anti-colonial, nationalist and communist movements. La Vie large des colonies is of importance as a primary source in the study of empire.

APA, Harvard, Vancouver, ISO, and other styles

16

Marchant-Wallis, Caroline. "The Paris Commune cartoon collection: An introduction." Art Libraries Journal 45, no. 3 (July 2020): 90–93. http://dx.doi.org/10.1017/alj.2020.13.

Full text

Abstract:

This article discusses the illustrative material found within the Paris Commune Collection held in the Special Collections of The University of Sussex, and focuses on how values and opinions were communicated through the use of sartorial cartoons and caricatures. Approaches from a range of disciplines including art, librarianship, archives and education have been employed, highlighting the value of cartoons as both pieces of art and valuable communication devices, alongside the importance of the collection for teaching, and wider importance of using archive material within teaching.

APA, Harvard, Vancouver, ISO, and other styles

17

Herkman, Juha. "Populism in political cartoons: caricatures of Nordic populist leaders." Popular Communication 17, no. 3 (May 17, 2019): 252–67. http://dx.doi.org/10.1080/15405702.2019.1614183.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Bal, Anjali Suniti, Leyland Pitt, Pierre Berthon, and Philip DesAutels. "Caricatures, cartoons, spoofs and satires: political brands as butts." Journal of Public Affairs 9, no. 4 (November 2009): 229–37. http://dx.doi.org/10.1002/pa.334.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Kunzle, David. "Review Article." European Comic Art 12, no. 2 (September 1, 2019): 106–13. http://dx.doi.org/10.3167/eca.2019.120206.

Full text

Abstract:

With Marie Duval, virtual creator of the ineffable Ally Sloper (first appearance 1867) and mainstay of a new magazine named Judy founded that year, we find a new kind of cartoon character, a new kind of caricature and a new kind of journal aiming, unlike Punch, at a female and lower-class audience. The moment was propitious: after two decades of national prosperity during which the GNP almost doubled, the demand (a push from below) was felt for some cultural irreverence and novelty. Maybe the 1850s and 1860s were the first ‘Age of Leisure’ rather than the succeeding one, that of Duval, proposed by the authors here (7); the later age, of Duval, was that of increased and lower-class leisure, for sure. This caricaturist and artist is a quite recent discovery: before the late 1980s and 1990, she was virtually unknown. She was Europe’s first female professional exponent of caricature (as distinct from a few sisters in conventional cartooning), and her initials and name took credit for the long-term development of an extraordinary artistic property, which quickly became a new sociological phenomenon: a dissolute trickster called Ally Sloper. He attained wild popularity in the 1870s and 1880s, and beyond. He was the first of many British comic characters to become a household name, and the first such comic character to be widely commercialised.

APA, Harvard, Vancouver, ISO, and other styles

20

Srivastava, Aparna. "COLOR SENSITIVITY IN THE LIFE OF CARTOONIST MARIO DE MIRANDA." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3683.

Full text

Abstract:

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 context has been done by cartoonist Mario de Miranda. Mario de Miranda is counted among the greatest artists whose entire life has been devoted to art. He has done a lively depiction of the cartoon works through the vision of the eccentric colors contained in his life. कला, कलाकार के अन्र्तमन की अभिव्यक्ति का श्रेष्ठ माध्यम है। प्राचीन युग से कला के तत्वों में रंगों का एक प्रमुख स्थान रहा है। किसी भी कला विधा में रंगों के प्रयोग के द्वारा कलाभिव्यक्ति की संप्रेषणीयता की सार्थकता आदि काल से ही सर्वविदित है। कला की नवीन विधा कार्टून या कैरीकेचर कला किसी भी अन्य विधा की अपेक्षा जनसाधारण को सीधे आकर्षित ही नहीं प्रभावित भी करती है। इस कला विधा में साधारणः काली मोटी रेखाओं का ही प्रयोग होता है, किन्तु यदि इस विधा में रंगों का उचित प्रयोग किया जाए तो उसकी संप्रेषण शक्ति और भी अधिक दृढ़ हो जाती है। इस संदर्भ में एक ऐसा ही नवीनतम प्रयोग कार्टूनिस्ट मारियो डी मिरांडा ने किया है। मारियो डी मिरांडा की गणना उन महान कलाकारों में की जाती है, जिनका सम्पूर्ण जीवन कला के प्रति समर्पित रहा है। उन्होंने अपने जीवन में निहित उल्लासमय रंगों की दृष्टि के माध्यम से कार्टून कृतियों का सजीव चित्रांकन किया है।

APA, Harvard, Vancouver, ISO, and other styles

21

Carbajal-Carrera, Beatriz, and Olga Sanchez-Castro. "The role of secondary incongruities in cartoon appreciation." European Journal of Humour Research 8, no. 2 (July 18, 2020): 25. http://dx.doi.org/10.7592/ejhr2020.8.2.carbajal-carrera.

Full text

Abstract:

Failed humour in conversational exchanges has received increasing attention in humour research (see Bell 2015; Bell & Attardo 2010). However, tensions between what constitutes successful and failed humour have yet to be fully explored outside conversational humour. Drawing on Hay’s (2001) classification of humour stages and using a socio-cognitive approach to pragmatics to examine responses from Spanish L1 and L2 users to differing combinations of structural and content features in cartoons, the present study aims to explore what factors contribute to successful and failed responses to multimodal humour. Previous research has predominantly investigated the role of caricature as one of the prototypical features of cartoons affecting humour communication, suggesting that this feature plays an active role in the recognition of the humoristic genre (Padilla & Gironzetti 2012). Findings from the present study indicate that caricature operates not only in the recognition, but also in the understanding and appreciation stages. In particular, our results point to two other roles of caricature as a secondary incongruity and as a factor that can trigger appreciation through empathy and/or a sense of superiority. Importantly, this investigation indicates that the presence of secondary incongruities can compensate for a partial lack of understanding, highlighting the relevance that this type of incongruity has in humour appreciation.

APA, Harvard, Vancouver, ISO, and other styles

22

Venkat, Vishaka, and Vinod Balakrishnan. "(Poli) Tickle/Prickle: Keshav Between the Lines." Journal of Creative Communications 13, no. 3 (September 5, 2018): 232–45. http://dx.doi.org/10.1177/0973258618790795.

Full text

Abstract:

This interview with Keshav Venkataraghavan, the staff cartoonist of The Hindu, explores the principles and the profession of political cartooning. Known as Keshav, to his readers, he has been drawing for 30 years and is now the editorial consultant of The Hindu. Beginning as a caricaturist who frequented the Chennai concerts to sketch the classical Carnatic musicians, Keshav has metamorphosed into an artist-cartoonist, effortlessly switching between the austere mind devoted to art’s spirituality and the specular mind which interrogates the socio-political sphere. While Keshav has drawn attention as an artist, his style of cartooning, surprisingly, has not been examined at length. As this is the first time Keshav becomes candid about the ethics, aesthetics and profession of cartooning, the interview demands attention, especially, for an Indian perception of cartooning. The interview attempts to answer the following questions: What decides the rhetoric, ethics and aesthetics of cartooning? Why is humour significant to cartooning? What is its role in making cartoons controversial? And what distinguishes political correctness from political incorrectness? Beginning with a discussion on the intriguing language of cartooning, the interview ponders over the process of choosing ideas and creating visuals for cartooning. This conversation with Keshav helps one to understand the tightrope profession of cartooning, as a thin separation between the scathed and smooth lines that tickle and prickle targets.

APA, Harvard, Vancouver, ISO, and other styles

23

Triyadi, Agus. "Perupaan Karakter Mang Ohle di Koran Pikiran Rakyat Sebagai Realita Pemikiran Rakyat di Jawa Barat." Jurnal Bahasa Rupa 1, no. 1 (October 28, 2017): 43–50. http://dx.doi.org/10.31598/bahasarupa.v1i1.141.

Full text

Abstract:

The caricature as part of the drawing works has a straightforward language, verbal, social criticism but is funny and intriguing. The presence of Mang Ohle caricature as a documentation and social criticism characteristic of innocent but smart, such as fictional Sundanese figures are very populist, namely Kabayan, while caricature is critical, satirical, but not make people angry. The Cartoonist Didin Basoeni has a principle, "Herang caina beunang laukna", which means "when the water clear, it is easier to look at the fish". That is, make criticism that avoids conflict. In this article disclosed the analysis of strategy of Mang Ohle characterization as the agent of the people voice in conveying their aspiration in the Pikiran Rakyat newspaper printed edition.

APA, Harvard, Vancouver, ISO, and other styles

24

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

Full text

Abstract:

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, simplify and undermine reality. The selection and exaggeration of character traits and circumstantial detail, which was fundamental to caricature, revealed graphically how cartoonists perceived the social and political world in which they lived. This chapter examines how such selection and exaggeration worked in extreme conditions during wartime.

APA, Harvard, Vancouver, ISO, and other styles

25

Virág, Ágnes. "Multimodal conceptual patterns of Hungary in political cartoons." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 222–53. http://dx.doi.org/10.1075/cogls.00055.vir.

Full text

Abstract:

Abstract Conventionalized positive images of Hungary have been overemphasized in political caricatures ever since the nineteenth century (Tamás 2012, 2014). The present article explores the multimodal representations of hungary in cartoons in the period between 1989 and 1990, during which negative images of Hungary became prominent due to the weak financial situation of the country and the political system change. The corpus involves seventy-five cartoons from the satirical magazine Ludas Matyi. Two major claims are justified by adopting Paula Pérez-Sobrino’s (2017) multimodal identification procedure: (1) the interpretation of verbal elements (e.g., labels, verbal texts, and verbal symbols) in political cartoons influences the identification of multimodal conceptual patterns; (2) the dominant patterns that structure the representation of hungary in political cartoons are metonymy-based visual and multimodal metaphors, and both of them occur in metaphorical scenarios. The corpus analysis indicates that the two main target frames, financial crisis and political changes, appear through the sources of human body and object in metaphorical scenarios, such as ordinary scenes, motion, hospital, sport, tale, love, feast, stunt, begging, and church scenes. Apart from identifying the representations of Hungary, visual metonymies as well as textual cues need to be revealed in order to understand what metaphtonymy scenarios are intended in the cartoons.

APA, Harvard, Vancouver, ISO, and other styles

26

Dusava, Gabriel. "A blurred and distorted view of PNG." Pacific Journalism Review : Te Koakoa 2, no. 1 (November 1, 1995): 90–94. http://dx.doi.org/10.24135/pjr.v2i1.544.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Flores Borjabad, Salud Adelaida. "Comunicación en imágenes en las sociedades árabes: la caricatura y su posverdad." Ámbitos. Revista Internacional de Comunicación, no. 45 (2019): 182–202. http://dx.doi.org/10.12795/ambitos.2019.i45.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Nataliya Andreevna, Kuzina. "Reflection of social and political conflicts in cartoon on the example of the Barcelona satirical press of the 60-70s of the XIX century." Latin-American Historical Almanac 29 (March 26, 2021): 147–64. http://dx.doi.org/10.32608/2305-8773-2021-29-1-147-164.

Full text

Abstract:

This article is dedicated to the Catalan caricature of the mid-19th century. The thematic field is being investigated to which artists have been addressing for 20 years. After all, political, social and cultural shifts within Spanish society are reflected in the cartoons of the Barcelona press, for example, El Pájaro verde, El Pájaro azul, El Diablo suelto, La Flaca, La Madeja, La Campana de Gràcia, La Esquella de la Torratxa. The work identifies three periods: 1) from the 1860s to 1868, 2) The six democratic or revolutionary years, 3) the first years after the Restoration. 1860-1868 is the period when caricature was born and developed in Catalonia. It was in the 1860s that such great illustrators as Tomas Padro and José Luis Paleser emerged. In the Catalan satirical press, the period of The six democratic years was a time of creative upsurge and development of the genre of caricature, when artists could openly denounce the authorities and honestly talk about problems.

APA, Harvard, Vancouver, ISO, and other styles

29

Allison, Deborah. "You Oughta Be in Pictures : Cartoons and caricatures in opening title sequences." Film International 18, no. 1 (March 1, 2020): 82–88. http://dx.doi.org/10.1386/fint_00010_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Dutton, George. "Lýý Toéét in the City: Coming to Terms with the Modern in 1930s Vietnam." Journal of Vietnamese Studies 2, no. 1 (February 1, 2007): 80–108. http://dx.doi.org/10.1525/vs.2007.2.1.80.

Full text

Abstract:

The emergence of popular journalism in 1930s Vietnam allowed for new forms of commentary on a transformed urban life, among them caricatures featuring LB Toéét, a villager bewildered by his encounters with the modern city. This article uses the LB To�t cartoons that appeared in the weekly journal Phong Hóóa [Mores] as a window on urban attitudes toward the modern. It suggests that the illustrations reveal a considerable ambivalence toward modernity on the part of Phong Hóóa's editors, despite their rhetorical commitment to the new and the modern.

APA, Harvard, Vancouver, ISO, and other styles

31

O-™Connor, Brendon. "Beyond the Cartoon: George W. Bush and His Biographers." Political Studies Review 3, no. 2 (April 2005): 163–74. http://dx.doi.org/10.1111/j.1478-9299.2005.00021.x.

Full text

Abstract:

Many people seem to see George W. Bush as little more than a caricature. While I acknowledge that Bush-™s electoral success is quite confounding, I argue that a more nuanced and deeper understanding of Bush is required to account for this success and to better comprehend how he makes political decisions. To go beyond the cartoon caricature, I examine the biographies on Bush to explore three key elements of his background and character: Bush-™s relationship with his father; his personal faith; and his development of a Texan persona. Unfortunately this analysis can only be taken so far given that much of the biographical literature is excessively partisan and poorly researched. Thus I conclude by calling for more serious scholarly investigation into Bush-™s personal history and political record.

APA, Harvard, Vancouver, ISO, and other styles

32

Slyomovics, Susan. "Cartoon Commentary: Algerian and Moroccan Caricatures from the Gulf War." Middle East Report, no. 180 (January 1993): 21. http://dx.doi.org/10.2307/3013228.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

McMahon. "Cartoons in the Classroom: Using Digitized Political Caricatures to Teach Migration and Ethnicity." Journal of American Ethnic History 33, no. 4 (2014): 87. http://dx.doi.org/10.5406/jamerethnhist.33.4.0087.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Zaytoon, Heba Ahmed Ragai. "Caricature Images for Religious Profiling: A Multimodal Analysis of Islamophobia in Selected Press Images." Anglica. An International Journal of English Studies, no. 26/2 (September 11, 2017): 185–224. http://dx.doi.org/10.7311/0860-5734.26.2.11.

Full text

Abstract:

The problem of religious profiling and the increase of animosity, exclusion and maltreatment of Muslim minorities in the West have reached an unprecedented level in a community where racism and segregation are usually denounced. The paper investigates the concept of Islamophobia as presented in 25 selected caricature images, along with their accompanying texts, chosen from magazines and specialized cartoon websites. Multimodality and its related analytic tools are utilized for making explicit the interactive messages encoded within these caricature images. The theoretical framework upon which this study is conducted incorporates Halliday’s (1978) three metafunctions, and Kress and Van Leeuwen’s (1996) adaptation of them for the analysis of images and their captions.

APA, Harvard, Vancouver, ISO, and other styles

35

ROWDEN, CLAIR. "Memorialisation, Commemoration and Commodification: Massenet and Caricature." Cambridge Opera Journal 25, no. 2 (June 4, 2013): 139–63. http://dx.doi.org/10.1017/s0954586713000049.

Full text

Abstract:

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 these musical artefacts, they acted as agents of commemoration of the composer and of memorialisation and commodification of his works for both operagoers and those who rarely entered the opera theatre.

APA, Harvard, Vancouver, ISO, and other styles

36

Lydin, N. N., and P. V. Ulyanov. "The Evolution of the Image of the Ottoman Empire on the Cartoons of the British Magazine «Punch» of the First World War Period." Izvestiya of Altai State University, no. 3(113) (July 6, 2020): 69–75. http://dx.doi.org/10.14258/izvasu(2020)3-11.

Full text

Abstract:

This article discusses the development in the British society of the image of the Ottoman Empire, perceived as a ’’German ally“ during the First World War. English cartoons from the satirical magazine “Punch” were taken as historical sources. The peculiarity of this magazine was that during the period under study it was popular among representatives of the elite, intelligentsia, workers and some of the farmers due to the publication of various drawings and cartoons in it. The main goal of the authors of the article is to consider the development of the image of the Ottoman Empire, presented on graphic materials as an “ally of Germany”, using political caricatures as an example, and to reveal its features in British propaganda. The study allows us to conclude that the image of the Ottoman Empire was presented in satirical form, as it was aimed at discrediting the ”ally of Germany“. British artists sought to convey to the mass audience that the Ottoman Porta was embroiled in armed conflict and was used by Germany as a "puppet". On the example of the most striking English cartoons of the satirical magazine “Punch”, it can be noted that many stories about the “ally of Germany” reflected in their content the military-political dependence of the Ottoman Empire on the German one.

APA, Harvard, Vancouver, ISO, and other styles

37

Tchen, John Kuo Wei. "Jack G. Shaheen 1935–2017." Review of Middle East Studies 52, no. 1 (April 2018): 172–74. http://dx.doi.org/10.1017/rms.2018.21.

Full text

Abstract:

Pioneering author and media critic, Dr. Jack Shaheen devoted his life to identifying and contesting damaging stereotypes of Arabs and Muslims in American media and pop culture. Arabs and Muslims were offered up as cartoon caricatures—dagger wielding, evil, ridiculous, hypersexualized, inhumane and incompetent “others.” Dr. Shaheen quickly recognized their shared genealogy to the portrayals of other racialized groups including Jews, Native Americans, Asian Americans, Latinos, and African Americans. Always in the spirit of engaged dialogue, he was outspoken in defense of any group that was wrongfully stereotyped and vilified.

APA, Harvard, Vancouver, ISO, and other styles

38

Sengupta, Sucharita. "Book Review: Christel R. Devadawson, Out of Line: Cartoons, Caricature and Contemporary India." Social Change 46, no. 2 (May 16, 2016): 324–27. http://dx.doi.org/10.1177/0049085716635445.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Flores Borjabad, Salud Adelaida. "La importancia de la caricatura y el grafiti como medio de comunicación en la Primavera Árabe Siria." Ámbitos. Revista Internacional de Comunicación, no. 41 (2018): 22–36. http://dx.doi.org/10.12795/ambitos.2018.i41.02.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Panayotidis, E. Lisa, and Paul Stortz. "Visual Interpretations, Cartoons, and Caricatures of Student and Youth Cultures in University Yearbooks, 1898–19301." Journal of the Canadian Historical Association 19, no. 1 (May 28, 2009): 195–227. http://dx.doi.org/10.7202/037432ar.

Full text

Abstract:

Abstract Students have always been integral in the development of the university in Canada. Driven by personal, professional, and political agendas, student experiences, understandings, and narratives helped construct the academic and intellectual cultures of universities. In their relationships with professors, administrators, and the spaces they inhabit, students crucially contributed to the university as a historically vibrant idea and social institution. As cast by the students, the university was clearly expressed in variant and creative ways through the annual yearbook. In particular, within the yearbook, the practice of parody in cartoons and caricatures was powerful in depicting the imagined worlds of academe as seen through the students’ eyes, and importantly how the students saw themselves and their life on campus. Using yearbooks from three universities — Toronto, Alberta, and British Columbia – visual images are studied that reveal underlying intentions to comment, marginalize, ridicule, and esteem groups of students according to both ascribed and self-imposed socialized hierarchical structures and codes of expectations and behaviour. Among the universities, the visual satire was consistent in tone and image, exposing the historic place and activities of students in the early university and in society, the contingent formation of student identities, and the nature of the pursuit of academic knowledge and credentials by youth in early-twentieth Century Canada.

APA, Harvard, Vancouver, ISO, and other styles

41

Thalhah, Abdullah Ibnu. "Visual Metaphor of Javanese Cartoon: The Interpretation of Cultural Socio-Politic in Goenawan Pranyoto’s Comic Cartoon Mbeling “Ande Ande Lumut” (1951-2014)." Harmonia: Journal of Arts Research and Education 16, no. 1 (December 26, 2016): 24. http://dx.doi.org/10.15294/harmonia.v16i1.6767.

Full text

Abstract:

<p>A comic cartoon is a communication media that is widely enjoyed and accepted by people. As a literary and journalistic work, the comic cartoon also captures the surrounding cultural situation. The modern and traditional cultural sign, fact and imagination, realist pattern and cartoon or caricature are used in a combination that seems contra versed (it is called double code discourse in postmodernism discourse), to show metaphor pattern relationship. The metaphor is applied through the transformation and play of the signs in the past and the future. They were spread, combined, and also transformed as a tool to show the creator’s expression. In this research, it was found that there was a very close relationship between the use of metaphoric signs and Indonesia’s social-politic situation in 1983. On one hand, Metaphor in comic cartoon Mbeling was a tool created to insinuate and criticize the corrupt and feudal Orde Baru authoritarian. It insinuated the violence involving the government officers in every aspect of the people’s life. On the other side, the comic cartoon also becomes the representation of contemporary Javanese culture that was open to other culture and acculturation.</p>

APA, Harvard, Vancouver, ISO, and other styles

42

Williams, Dominic. "Punch and the Pogroms: Eastern Atrocities in John Tenniel’s Political Cartoons, 1876–1896." RACAR : Revue d'art canadienne 42, no. 1 (August 15, 2017): 32–47. http://dx.doi.org/10.7202/1040838ar.

Full text

Abstract:

Cet article analyse trois caricatures produites pour Punch, magazine humoristique de l’époque victorienne, par son caricaturiste en chef, John Tenniel. Elles représentent des despotismes en périphérie de l’Europe opprimant et assassinant des minorités sous leur férule : les atrocités commises en Bulgarie en 1876, les pogroms antisémites en Russie en 1881–1882 et les massacres d’Arméniens dans l’Empire ottoman en 1895–1896. Considérées ici comme faisant partie d’une série, ces images sont placées en dialogue notamment avec les textes qui ont paru à leurs côtés et avec les magazines rivaux de Punch tels que Fun et Judy. Alors que les Turcs, les Russes, les Bulgares, les Juifs et les Arméniens sont devenus des figures au moyen desquelles Punch a pu réfléchir à lui-même et à sa nation, elles lui ont posé un problème de représentation : c’est particulièrement les figures juives que Punch a eu le plus de difficulté à situer dans l’ordre des nations.

APA, Harvard, Vancouver, ISO, and other styles

43

Webb, Joel C. "Drawing a Glorious Past, Picturing an Uncertain Future." European History Quarterly 47, no. 2 (April 2017): 257–83. http://dx.doi.org/10.1177/0265691417690996.

Full text

Abstract:

This article uses turn-of-the-century editorial cartoons and other imagery mass produced by the Spanish press to examine a period in Spanish history when the momentum of a developing national identity collided with the challenges of war and decolonization. Through a detailed exploration of the iconography embedded in caricatures published in the pages of a politically diverse selection of turn-of-the-century Spanish publications, this article seeks to demonstrate that the fear of an uncertain future combined with the disaster of a collapsing empire were projected onto images of the enemy which reflect a submerged anxiety over the threat of an ascendant and vulgar modernity. This anxiety manifested itself in dueling metaphors that presented the essence of Spanishness as a bulwark against industrialization, modernization, and liberalization.

APA, Harvard, Vancouver, ISO, and other styles

44

Nevins, Mark David, and Anke Feuchtenberger. "'From the Land Where the Word Balloons Throw Shadows'." European Comic Art 2, no. 1 (January 1, 2009): 65–82. http://dx.doi.org/10.3828/eca.2.1.5.

Full text

Abstract:

Anke Feuchtenberger is a German avant-garde cartoon artist (b. 1963) with a strongly caricatural style. In this interview she discusses her childhood and education in former East Germany, historical influences upon her - including Rodolphe Töpffer - and current inspiration, as well as creational techniques and work in progress. In a further section the artist provides direct analysis of several of her publications.

APA, Harvard, Vancouver, ISO, and other styles

45

Newton, Jane. "The centre for the study of cartoons and caricature, University of Kent at Canterbury." Contemporary British History 13, no. 4 (December 1999): 170–79. http://dx.doi.org/10.1080/13619469908581564.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Frisch, Robin. "“Fraudonomics”: Cartooning against Structural Adjustment in Togo." International Review of Social History 66, S29 (March 10, 2021): 139–60. http://dx.doi.org/10.1017/s0020859021000171.

Full text

Abstract:

AbstractThis article offers a sensitive reading of oppositional political cartoons in Togo in the early 1990s, during the period of structural adjustment, which was accompanied by the swift reversal of democratizing trends and the restoration of authoritarian rule. Togolese satirists perceived this moment as a moment of “fraudonomics”, thus contesting rampant corruption and clientelism in politics. They poked fun at the president, local politicians, businesspeople, and bureaucrats of the international institutions. The article begins by examining the making of satirical newspapers with a focus on the biographies of the satirists. As students, they started out on the adventure of publication with their own money and learned most of their drawing and printing techniques as work progressed. Secondly, an analysis of the readership shows that, although the satirical newspapers were a crucial element of the media in the early 1990s, it was mostly an elitist and urban phenomenon. The third section analyses the changing visual repertoire of contention through in-depth analysis of four selected caricatures.

APA, Harvard, Vancouver, ISO, and other styles

47

Chedoluma, Illia. "Images and Representations of the Rudnytskyi Family: The Case of Ukrainians in Galicia Between the Wars." Scripta Judaica Cracoviensia 18 (2021): 49–66. http://dx.doi.org/10.4467/20843925sj.20.004.13872.

Full text

Abstract:

Caricature journals in the interwar period had a special genre niche, giving the masses, through funny cartoons, a simplified understanding of internal and external political processes. Zyz and Komar were the largest Ukrainian satirical humor journals in interwar Galicia. They mainly covered the internal political life in the Second Polish Republic and international relationships. These journals are primarily intended for people from the countryside, and the editors and owners of these journals used anti-Semitism for the political mobilization of the rural population. I use elements of Serge Moscovici’s theory of social representations to track these processes. A key aspect here is how the image of the Rudnytskyi family was shaped on the pages of these journals. The family was of mixed Ukrainian-Jewish origins, and its members became prominent figures in various spheres of Ukrainian social and political life in interwar Galician Ukrainian society (in politics, literature, music, and the women’s movement). The behavior of the Rudnytskyi family was explained to the readers through their Jewish origins. Zyz and Komar both created an image of the Rudnytskyis as an integral Jewish group occupying different spheres of Ukrainian life. The study of visual caricature images thus enables us to explore the channels of the formation and spread of anti-Semitic images of Jews and the use of the image of “the Jew” in the Galician Ukrainian society in interwar Poland.

APA, Harvard, Vancouver, ISO, and other styles

48

Hansen, B. "The image and advocacy of public health in American caricature and cartoons from 1860 to 1900." American Journal of Public Health 87, no. 11 (November 1997): 1798–807. http://dx.doi.org/10.2105/ajph.87.11.1798.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Fedosov, E. A., and E. S. Genina. "Globalization of the Internal Enemy Image in the Soviet Visual Propaganda during the Early Cold War (1946–1953)." Bulletin of Kemerovo State University 22, no. 4 (January 5, 2021): 952–62. http://dx.doi.org/10.21603/2078-8975-2020-22-4-952-962.

Full text

Abstract:

The present research featured a generalized historical experience in the formation and development of a particular segment of Soviet propaganda during the early Cold War (1946–1953). The authors focused on the visual propaganda as a component of ideological impact. The study involved 240 propaganda posters and over 2,000 magazine and newspaper caricatures published in 1946–1953. The reconstruction of events was part of content analysis of the ideological and propaganda campaigns that the USSR waged as its confrontation with the West began to escalate. The concept of Soviet patriotism was the key idea in the state ideology. The analysis made it possible to specify some features of the symbolic language of visual propaganda. It also revealed the relationship between international and domestic political scenarios through certain varieties of the enemy image. The authors assessed the effectiveness of propaganda in terms of social and political attitude expressed by Soviet citizens. The authors revealed a complex of various means, which included official publications, posters, and cartoons and was used to influence the mass consciousness and form certain ideological attitudes.

APA, Harvard, Vancouver, ISO, and other styles

50

Fedosov, E. A., and E. S. Genina. "Globalization of the Internal Enemy Image in the Soviet Visual Propaganda during the Early Cold War (1946–1953)." Bulletin of Kemerovo State University 22, no. 4 (January 5, 2021): 952–62. http://dx.doi.org/10.21603/2078-8975-2020-22-4-952-962.

Full text

Abstract:

The present research featured a generalized historical experience in the formation and development of a particular segment of Soviet propaganda during the early Cold War (1946–1953). The authors focused on the visual propaganda as a component of ideological impact. The study involved 240 propaganda posters and over 2,000 magazine and newspaper caricatures published in 1946–1953. The reconstruction of events was part of content analysis of the ideological and propaganda campaigns that the USSR waged as its confrontation with the West began to escalate. The concept of Soviet patriotism was the key idea in the state ideology. The analysis made it possible to specify some features of the symbolic language of visual propaganda. It also revealed the relationship between international and domestic political scenarios through certain varieties of the enemy image. The authors assessed the effectiveness of propaganda in terms of social and political attitude expressed by Soviet citizens. The authors revealed a complex of various means, which included official publications, posters, and cartoons and was used to influence the mass consciousness and form certain ideological attitudes.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Caricatures and cartoones'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles