Relevant bibliographies by topics / Comics and caricature

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Comics and caricature'

Author: Grafiati
Published: 27 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Comics and caricature"

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Cerić, Haris, and Ešref Kenan Rešidagić. "Strip i karikatura u nastavi politilogije." Obrazovanje odraslih/Adult Education, no. 2 2019 (2020): 39–54. http://dx.doi.org/10.53617/issn2744-2047.2019.19.2.39.

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The intention of the authors is to demonstrate the utilisation of comictrips and caricature in political science teaching at university level. The kinship of comics and caricatures is reflected in the fact that they, as visual and verbal - visual media, form their own ''visual language''. In teaching in general, including higher education, comic strips and caricatures have a provoking value(scandalon), hence they represent an excellent motivational tool for learning. Certanly, the selection of appropriate comics and caricatures in crucial, therefore the paper provides examples of some comics and caricatures that can be used in political science teaching. Also, the readers are reffered to relevant theoretical starting points which can justify the use of comics and caricatures in teaching as visual and (or) verbal-visual media.
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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 (October 1, 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 editorial cartoons in the issue. Looking at themes of monumentality and the taint of collective memory, historical revisionism and historiographical ridicule, and cultural dominion, I argue that caricature in the Nib's “Empire” issue reimagines imperialism, comically, as a complex (even if reductive) way of organizing a lack of imagination.
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Plekhanov, A. A. "The magazine Krokodil as a space of the Soviet comic strip in the 1940s." Shagi / Steps 9, no. 3 (2023): 192–217. http://dx.doi.org/10.22394/2412-9410-2023-9-3-192-217.

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The article is devoted to the history of Soviet comics in the 1940s through the example of the Krokodil magazine. The first part discusses stereotypes about the history of comics in the USSR, analyses the concept of the comic strip as the main form of comics in the Soviet period, and considers the use of Media studies as a framework. The purpose of the article is to examine the work of Krokodil as a space for the development of the Soviet comic strip, through R. Duncan’s and M. J. Smith’s communication model of the comic book. The second part explores the process of work of the magazine’s artists, the censorship by various gatekeepers’ actors, the typical features of the visual language of the Soviet comic strip, the distribution and perception of comic strips and the magazine itself. It is especially noted that the distinction between caricature and comic strip is not typical for the 1940s, and it will emerge only by the 1960s. The article also provides a parsing of a corpus of diaries from the 1940s, in which memories of Krokodil are highlighted. The hypothesis of H. Alaniz about the special role of comics during the Great Patriotic War is verified and questioned.
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Beaty, Bart. "Comics and American Cultural Policy." American Literary History 35, no. 3 (June 28, 2023): 1346–52. http://dx.doi.org/10.1093/alh/ajad148.

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Abstract This review considers the contributions of two 2021 monographs—Christopher J. Gilbert’s Caricature and National Character: The United States at War and Paul Hirsch’s Pulp Empire: A Secret History of Comic Book Imperialism—each of which examines the role of cartooning in shaping attitudes towards warfare, imperialism, and nationalism in the US in the twentieth century.The highly repetitive and remarkably codified nature of the comic-book story is . . . the thing that made it attractive for propagandistic purposes.
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Alhreashy, Fouzia Abdulaziz, Arwa Abdulelah Mobeirek, Osama Abdulelah Mobeirek, Salem Dakheel Al-Suwaidan, Nawal Mohammed AlRajeh, and Monirh Abdulaziz Alhorishi. "Caricature-based Antenatal Breastfeeding Education Trial: A Randomized Controlled Trial." Journal of Nature and Science of Medicine 7, no. 2 (April 2024): 73–81. http://dx.doi.org/10.4103/jnsm.jnsm_136_23.

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Abstract Objectives: Cartoons, comics, and caricatures have been incorporated in health education. This trial aimed to evaluate the effectiveness of caricature-based breastfeeding education at improving breastfeeding knowledge, attitudes, self-efficacy, and practice among pregnant women. Materials and Methods: A randomized controlled clinical trial was carried out at Riyadh First Health Cluster in Saudi Arabia. A total of 85 pregnant women were randomly assigned to the intervention group (n = 41) or the control group (n = 44). The intervention was two caricature-based versus one standard online lecture in breastfeeding. The participants were followed up for 3 months postpartum. The primary outcome was full breastfeeding (predominant and exclusive breastfeeding) by the time infants were 3 months old. The secondary outcomes were prenatal and postnatal breastfeeding self-efficacy, Iowa Infant Feeding Attitude Scale (IIFAS) scores, and satisfaction with the education. Results: The participants were mostly Saudi (97.6% vs. 90.9%) and housewives (79% vs. 86.4%) for the intervention and control groups, respectively. The full breastfeeding rate at 3 months postpartum was 32.5% for the intervention and 31.6% for the control (P = 0.808; 95% confidence interval 0.539–1.965; relative risk = 1.029). Prenatal breastfeeding, postnatal self-efficacy, and IIFAS scores were compared between the intervention and control groups; no statistically significant difference was found (P > 0.05). In both arms of the study, participants’ experiences with the health education were satisfactory. Conclusion: Caricature use in antenatal breastfeeding education was a pleasant experience, but its effect on self-efficacy, attitudes, and behavior could not be determined from this trial. Large-scale, multi-center, multi-component research is recommended.
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Soper, Kerry. "Performing ‘Jiggs’: Irish Caricature and Comedic Ambivalence toward Assimilation and the American Dream in George McManus's Bringing Up Father." Journal of the Gilded Age and Progressive Era 4, no. 2 (April 2005): 173–213. http://dx.doi.org/10.1017/s1537781400002565.

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Many fans and scholars of newspaper comics have observed that an excellent way to chart a social history of American culture in the twentieth century is to look at the mainstream comic strip page. This may be especially true of the first half of the twentieth century when comic strips were avidly followed by readers from almost all age, class, and ethnic demographics. Because of this breadth of popularity, the comics page was a fairly accurate reflector (and occasionally, shaper) of fashions, fads, humor, politics, and racial prejudices. Early cartoonists' ability to place their fingers on the American pulse can largely be attributed to the industry's eagerness to please readers: as a lowbrow entertainment that targeted broad audiences through street corner sales, and later, national syndication, it tried to anticipate the characters, comedy, and ideological content that would attract and retain devoted readers. A few iconoclastic cartoonists such as Al Capp (Li'l Abner) and George Herriman (Krazy Kat) challenged readers with topical satire or appealed to niche audiences with quirky humor and aesthetics; but even the most innovative work in the medium relied on a sort of call and response between core readers, syndicates, editors, and artists—a back and forth that insured that the cartoonist's work resonated with, or spoke for, its fans.
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Al-Ajlan, Afrah. "Visual Rhetoric and Its Arguments in Caricature: The Speech of Saudi Women in Manal Al-Rasini's Drawings as an Example." Journal of Umm Al-Qura University for Language Sciences and Literature, no. 31 (June 1, 2023): 47–60. http://dx.doi.org/10.54940/ll28300488.

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This study is concerned with a rhetorical approach to the visual discourse, and it shows its argumentative dimensions through a theoretical glossary that deals with the concept of visual rhetoric, its significance, the sections of the visible sign, its functions, and levels of analysis, then standing on the discourse of Saudi women in drawing (caricature) through two topics: The first is strengthening the position of Saudi women in society, and the other is women and families of violence. The study led to the richness of non-linguistic sign systems, their understanding of the eloquence of the phrase, and the mechanisms of arguments and their connecting links. It recommended the need to open up to other visual arts towards formation (comics), conceptual photography, and to study their rhetorical techniques and their argumentative foundations that guide awareness and action.
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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.

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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.
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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.

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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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Feuer, M. "Everybody is a Star: The Affirmation of Freaks and Schlemiels through Caricature in the Comics of Drew and Josh Friedman." MELUS: Multi-Ethnic Literature of the United States 32, no. 3 (September 1, 2007): 75–101. http://dx.doi.org/10.1093/melus/32.3.75.

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Dissertations / Theses on the topic "Comics and caricature"

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Hague, Ian. "Experiencing comics : a multisensory approach to the comic strip and related forms." Thesis, University of Chichester, 2012. http://eprints.chi.ac.uk/574/.

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Attempts to define what comics are and explain how they work have not always been successful because they are premised upon the idea that comics are inherently and almost exclusively visual. Drawing on social definitions for its object, this study challenges that premise and asserts that comics is not just a visual medium. The study outlines the multisensory aspects of comics: the visual, audible, tactile, olfactory and gustatory elements of the medium. It rejects a synaesthetic approach (by which all the senses are engaged through visual stimuli) and instead argues for a truly multisensory model by which the direct stimulation of the reader's physical senses can be understood. A wide range of examples demonstrate how multisensory communication systems work in both commercial and more experimental contexts. The thesis concludes with a case study that looks at the works of Alan Moore and indicates areas of interest that multisensory analysis can draw out, but which are overlooked by ocularcentric approaches.
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Sandri, Tammie Caruse Faria. "MANIFESTAÇÕES CARICATURAIS EM JORNAIS: estratégias do discurso visual na imprensa rio-grandina do século XIX." Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/6318.

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This research seeks to analyze the graphical composition of manifestations of caricature in Rio Grande newspapers, from the issue on the strategies used in visual discourse to attract the reader's attention, guide the interpretation, provide information, and even promote the newspaper media. The theoretical and methodological framework is based on Image Theory, which discriminate the morphological, dynamic and scalar elements, that make up the manifestations of caricatures at newspapers Diabrete, Marui and Bisturi, to check the strategies for producing the images meaning and how the visual discourse contributes to the journalistic motives. Although the meanings of an image are not dissociated from its social and historical context of production or its verbal content, if it exists, the fundamental purpose of this dissertation is to understand and explain the power of visual language. This study seeks to demonstrate that, as the name used for this press time, the manifestations of caricatures, by guide the editorial strategy, represent a new genre of communication that shows a simple structure in its elements and, therefore, a strong appeal to reading and forming public opinion, being a resource for the production of information.
Esta pesquisa busca analisar a composição gráfica das manifestações caricaturais em jornais rio-grandinos, partindo da problemática sobre as estratégias utilizadas no discurso visual para atrair a atenção do leitor, orientar a interpretação, fornecer informações e, mesmo, popularizar a mídia jornal. O referencial teórico-metodológico se apoia na Teoria da Imagem, onde se discriminam os elementos morfológicos, dinâmicos e escalares que compõem as manifestações caricaturais dos jornais Diabrete, Marui e Bisturi, para verificar as estratégias de construção de significação das imagens e como o discurso visual contribui para os intuitos jornalísticos. Embora as significações de uma imagem não se dissociem de seu contexto sócio-histórico de produção ou de seu conteúdo verbal, se existente, o intuito fundamental dessa dissertação é entender e explicar a potência da linguagem visual. Procuro demonstrar que, conforme o próprio nome utilizado para essa imprensa de época, as manifestações caricaturais, ao orientarem a estratégia editorial, representam um novo gênero de comunicar que apresenta em seus elementos uma estruturação simples e, por isso, de forte apelo de leitura e formação de opinião, constituindo-se em recursos para a produção de informação.
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Cheng, Sandra. ""Il bello dal deforme" caricature and comic drawings in seventeenth-century Italy /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 339 p, 2008. http://proquest.umi.com/pqdweb?did=1771527611&sid=10&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Bahamonde, O. Javier. "Web comics: aprendizaje en cuadritos: comics on line complementarios al aprendizaje." Tesis, Universidad de Chile, 2006. http://repositorio.uchile.cl/handle/2250/100826.

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Desarrollar un cómic que sirva de base para un sistema de comunicación visual, con soporte y sustento en el código gráfico y narrativo de la historieta, que sirva de complemento a un aprendizaje significativo de las asignaturas de Educación Tecnológica y Comprensión del Medio y Sociedad, para alumnos de enseñanza media.
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Filho, Eloar Guazzelli. "Canini e o anti-herói brasileiro: do Zé Candango ao Zé - realmente - carioca." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-16092009-205951/.

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Este trabalho de pesquisa estuda um autor - Renato Canini - que construiu uma trajetória peculiar ao desenvolver uma narrativa de histórias em quadrinhos com um traço bastante pessoal apesar de inserida nas de estruturas de produção massivas. Envolve a articulação da CETPA Cooperativa Editora de Trabalhos de Porto Alegre - que pretendia publicar histórias em quadrinhos brasileiras para fazer frente à avassaladora presença de material importado , estrutura onde Canini realizou com as tiras de Zé Candango seus primeiros ensaios de uma linguagem brasileira de quadrinhos. E porque parte dessas tiras foi publicada no Jornal do Brasil, sua atuação pode ser vista dentro da construção de um sistema massivo de produção e distribuição no país. Este trabalho vai além ao abordar a seminal passagem deste autor pelas publicações Disney por meio da Editora Abril - desenhando as aventuras do personagem Zé Carioca. Deste período resultará uma obra que encontra grande significado por conseguir superar as contradições e os limites de uma estrutura caracterizada por uma rígida divisão de trabalho, dilatando os limites da questão autoral dentro da grande indústria e trazendo amplos questionamentos quanto aos elementos formadores de uma pretensa identidade nacional.
This research deals with the study of the artist Renato Canini, who managed to build a very peculiar way to develop a narrative of comics with a very personal style, although included in the structures of mass production. This period includes the articulation of CETPA (Cooperative Publishing Works of Porto Alegre), which intended to publish Brazilian comics to face the huge presence of imported material. That was when Canini drew his strips of Zé Candango its first steps of a language of Brazilian comics. And because of part of these strips were published in Jornal do Brasil, this work can be seen within the perspective of building a massive system of production and distribution. This work goes beyond by researching the important work done by Renato Canini at Disney publications - by Editora Abril - drawing the adventures of the character Zé Carioca. Not forgetting a significant formal research developed by him on the pages of the Recreio magazine. This period will result in a workforce that is able to overcome significant contradictions and limits of a structure known by being rigid with the labor division and also by extending the limits of copyright issue within the major industry issues and bringing extensive discussion on the elements of an alleged national identity.
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Toulhoat, Mélanie. "Rire sous la dictature, rire de la dictature. L'humour graphique dans la presse indépendante ˸ une arme de résistance sous le régime militaire brésilien (1964-1982)." Electronic Thesis or Diss., Paris 3, 2019. http://www.theses.fr/2019PA030007.

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Cette thèse porte sur le rôle politique de diverses formes d’humour graphique – la charge, la caricature, la bande dessinée, la gravure et le détournement d’image photographique – publiées dans la presse indépendante, sous le régime militaire brésilien instauré à la suite du coup d’État du 31 mars 1964. Il s’agit d’analyser les styles, les mécanismes et les pratiques contestataires spécifiques au dessin d’humour et à l’image satirique à partir de l’institutionnalisation du pouvoir autoritaire et jusqu’à la réinvention des moyens d’expression indépendants au début des années 1980. Dans un contexte de fermeture progressive du régime, de répression policière, de rétrécissement drastique du champ légal de l’action politique et de sévères limitations imposées à la liberté d’expression, l’humour graphique fut employé par les rédactions afin de contourner les diverses formes de censure et de lutter contre l’imaginaire autoritaire. La réinterprétation de certaines pratiques inscrites dans la tradition de l’humour visuel brésilien, construite à partir de l’essor de la presse imprimée au XIXe siècle, fut accompagnée d’innovations esthétiques, thématiques et militantes majeures dans un rapport mouvant à l’interdit, au toléré et à l’autorisé. Les périodiques, les dessinateurs et événements furent représentatifs d’importantes étapes dans l’élaboration des luttes symboliques et légales menées par les rédactions indépendantes. La diversité des sources iconographiques, manuscrites, imprimées et orales révèle l’important pouvoir de synthèse et le rôle fondamental de l’humour graphique dans la construction d’univers visuels thématiques caractéristiques des combats – et des divergences – des mouvements brésiliens de l’opposition démocratique
This thesis deals with the political role of various forms of graphic humor – charge, caricature, cartoon, engraving print and photomontage – published in the independent press under the military regime established as a result of the 31st march 1964’s coup. We analyse the styles, mechanisms and protester practices specific of humoristic drawings and satirical images from the authoritarian power’s institutionalization to the reinvention of the independent ways of expression in the early 80’s. Against a background of progressive regime’s closure, police repression, extreme reduction of the legal scope of political action and severe restrictions imposed on freedom of expression, the graphic humor was used by the editorial offices in order to circumvent the various forms of censorship and fight against the authoritarian imaginary. The reinterpretation of some practices that has been part of the Brazilian visual humor tradition built from the rise of the print press in the XIXth century, was accompanied by major aesthetic, thematic and militant evolutions in a moving connection with the forbidden, the tolerated and the allowed. The newspapers, the cartoonists and the events were representative of important steps in the development of symbolic and legal struggles led by the independent editorial teams. The diversity of iconographic, manuscript, printed and oral sources reveals the huge synthesis power and the crucial purpose of graphic humor within the building of thematic and visual universes characteristic of the fights – and the discrepancies – of the Brazilian democratic opposition’s movements
Esta tese se dedica ao estudo do papel político de várias formas de humor gráfico – tais como a charge, a caricatura, a história em quadrinhos, a gravura e o corte-colagem de fotografia – publicadas na imprensa independente durante o regime militar brasileiro, a partir do golpe do 31 de março de 1964. Se trata de analisar os estilos, os mecanismos e as práticas contestatórias específicos do desenho de humor e da imagem satírica a partir da institucionalização do poder autoritário e até a reinvenção dos meios de comunicação independentes no começo dos anos 1980. Num contexto de fechamento progressivo do regime, de repressão policial, de diminuição drástica do campo legal da ação política assim como de severas limitações impostas à liberdade de expressão, o humor gráfico foi empleado pelas redações para contornar as diversas formas de censura e lutar contra o imaginário autoritário. A reinterpretação de certas práticas inscritas na tradição do humor visual brasileiro, construida a partir do crescimento da imprensa no siglo XIX, foi acompanhada de importantes inovações estéticas, temáticas e militantes numa relação em movimento com o proibido, o tolerado e o autorizado. Os periódicos, os cartunistas e eventos foram representativos das maiores etapas de elaboração das lutas simbólicas e legais por parte das redações independentes. A diversidade das fontes iconográficas, manuscritas, impressas e orais revela o importante poder de síntese e o papel fundamental do humor gráfico na construção de universos visuais temáticos caraterísticos das lutas, e das divergências, dos movimentos brasileiros da oposição democrática
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Koon, Chui-min. "The politics of popular culture : a study of a Hong Kong comic strip, McMug /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25085542.

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Foster, John E. "A critical, social and stylistic study of Australian children's comics /." Title page, contents and introduction only, 1989. http://web4.library.adelaide.edu.au/theses/09PH/09phf755.pdf.

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Oliveira, Gilberto Maringoni de. ""Angelo Agostini ou impressões de uma viagem da corte à capital federal (1864 - 1910)"." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-15092006-231444/.

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Este estudo procura investigar e interpretar a trajetória artística, jornalística, política e intelectual do caricaturista ítalo-brasileiro Angelo Agostini (1843-1910). Sua estréia profissional, em São Paulo, coincide com o início da Guerra do Paraguai, em 1864, e seus últimos trabalhos acontecem quando a República oligárquica está consolidada, em 1908. Agostini assiste à decadência das últimas engrenagens do Império, assentado no trabalho escravo e na grande propriedade da terra e, em seguida, testemunha o advento da República e a nova inserção do Brasil no mercado internacional, através do fornecimento de matérias-primas aos países centrais e da entrada maciça de capitais externos aqui. Esteticamente, ele foi o principal artista gráfico em atividade, no Brasil, na segunda metade do século XIX e realizador de alguns marcos na história da imprensa brasileira, como a Revista Illustrada. Introdutor das histórias em quadrinhos entre nós, deixou como legado uma obra vasta, diferenciada e irregular. No plano político, foi um ativista na luta pela Abolição da escravatura. Nosso propósito é evidenciar como as transformações empresariais e técnicas na atividade de imprensa interferem no trabalho das artes gráficas. Ao mesmo tempo, tentaremos examinar em que consistiu a militância política de Agostini no âmbito jornalístico, quem eram seus parceiros, com quais setores de classe se articulava e qual o significado da campanha abolicionista para uma parcela da elite urbana.
This work intends to research and interpret the artistic, journalistic, political and intellectual career of the Italian-Brazilian cartoonist Angelo Agostini (1843-1910). His professional debut takes place in 1864, in São Paulo, when the Paraguay War was beginning, and his last works are published when the Oligarchic Republic is already consolidated, in 1907. Agostini witnesses the decay of the Brazilian Empire´s last ties - supported by slave work and large landed states. Following that, he also sees the raising of the Republic and Brazil´s new insertion in the international market - supplying raw material to central economies, and the massive income of external capital into the country. Esthetically wise, he was the main graphic artist at work in the second half of the nineteen century in Brazil. He accomplished some deeds in the history of the Brazilian press, such as the Revista Illustrada. Agostini was also the first one to introduce comic narrative into the country and his legacy was a vast artistic creation – although diversified and irregular. In the political field, he was an activist in the struggle for the abolition of slavery. The objective of this study is to point out how business and technical changes in press activities interfere in the final work - the graphic work. Along with that, we also try to investigate how Agostini performed his political action in the journalistic milieu, who his partners were, which class sectors he was connected with, and what the abolitionist campaign meant for a sector of the white urban elite.
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Huen, Yuk-wan, and 禤育昀. "The representation of space and cultural memory in Hong Kong independent comics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48334601.

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This paper explores the way Hong Kong independent comics encapsulate the essence of the city. Independent comics are distinguished from mainstream comics by their specific mode of production. More significantly they demonstrate an emphasis on subjective personal creativity and craftsmanship, which stands out sharply in the pervasive objective culture in modern society. Adopting an anthropological approach in representing local ways of living, these comics attempt to map an identity of Hong Kong in a way that is free from confusing influences of her postcolonial history, her political subordination to China and the global capitalist forces. The artists of independent comics embrace the essence of local culture by focusing on space and cultural memory and thereby rediscovering the truth and characteristics of life in Hong Kong. As a form of popular cultural text, Hong Kong independent comics package the local identity and history into fashionable goods for cultural consumption. Together with this, the articulation of a shared past creates forces of cohesion that binds the community together and offers a way for the people to negotiate their identity.
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Literary and Cultural Studies
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Books on the topic "Comics and caricature"

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Rahman, Arifur, ed. Periodical: Digital Cartoon Magazine. Norway: Toons Mag, 2019.

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Israel) Animation Comics Caricature Festival (1st 2001 Tel Aviv. Fesṭival ḳomiḳs, ḳariḳauṭrah ṿe-animatsyah ha-1: 26-28 Ogusṭ 2001 Simenṭaḳ Tel Aviv. Tel Aviv: ʻIriyat Tel Aviv, Agaf ha-tarbut ṿeha-omanuyot, ha-Maḥlaḳah le-mofaʻim, 2001.

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Israel) Animation Comics Caricature Festival (4th 2004 Tel Aviv. ha-Fesṭival ha-4 le-animatsyah, ḳomiḳs ṿe-ḳariḳauṭrah: 16-19 Ogusṭ 2004 be-Sinemaṭeḳ Tel Aviv : tokhniyah. Tel Aviv: ʻIriyat Tel Aviv, Agaf ha-tarbut ṿeha-omanuyot, ha-Maḥlaḳah le-mofaʻim, 2004.

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Gehrig, Anette, and Christian Gasser. Comics Deluxe!: Das Comic-Magazin Strapazin. Basel: Christoph Merian Verlag, 2012.

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Robert, Mankoff, ed. The New Yorker book of kids cartoons. Princeton, NJ: Bloomberg Press, 2001.

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1936-2019, Koike Kazuo, ed. Manga chō shinkaron: Comic evolution. Tōkyō: Kawade Shobō Shinsha, 2019.

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Boliviana, Universidad Católica. Historieta y caricatura en Bolivia. La Paz: Universidad Católica Boliviana San Pablo, 2000.

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Mark, Lewis. Casino comics. Grand Rapids, Mich: Gollehon Books, 1997.

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Mitsumasa, Anno. Anno's peekaboo! London: Bodley Head, 1988.

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Groening, Matt. Simpsons comics simpsorama. New York: HarperPerennial, 1996.

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Book chapters on the topic "Comics and caricature"

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Duncan, Randy. "Caricature and comics." In The Routledge Handbook of Language and Politics, 454–67. Milton Park, Abingdon, Oxon; New York, NY: Routledge, [2017] |: Routledge, 2017. http://dx.doi.org/10.4324/9781315183718-34.

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Davis, R. Casey. "Caricatures Throughout History." In Social Studies Comes Alive, 109–14. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238041-16.

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Caron, James E. "Creating Comic Community: Scathing Epithets, Caricature, and Comic Violence." In Palgrave Studies in Nineteenth-Century Writing and Culture, 105–27. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-41276-9_5.

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CARRIER, DAVID. "Caricature." In A Comics Studies Reader, 105–15. University Press of Mississippi, 2008. http://dx.doi.org/10.2307/j.ctt2tvd9s.16.

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"Caricature and Comics." In The Routledge Companion to Comics, 383–95. New York : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315851334-53.

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"6. Caricature: Rebecca Wanzo." In Keywords for Comics Studies, 30–32. New York University Press, 2021. http://dx.doi.org/10.18574/nyu/9781479862702.003.0009.

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Pratt, Henry John, and Kurt F. Shaffert. "Social and Moral Problems." In The Philosophy of Comics, 157–74. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190845445.003.0007.

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Abstract An ancient objection to mass-media narrative arts found a prominent twentieth-century voice in Fredric Wertham, whose Seduction of the Innocent motivated the notorious Comics Code Authority. Whether such concerns are grounded in medium-specific or other considerations is investigated through, first, the idea that the authors and audiences of comics are prone to immorality; and, second, the ways in which the formatting of comics has driven the reading process. While it is acknowledged that individual comics can be morally problematic, it is argued that it is much harder to make a case against the category itself. The media of comics are largely content neutral, though the cartoon style of depiction, involving the use of caricature, prompts a worry. Christy Mag Uidhir’s argument that media using caricature are epistemically defective is considered, and it is concluded that while vigilance is warranted, there is no ultimate reason to condemn comics as a category.
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"1. “Impussanations,” Coons, and Civic Ideals: A Black Comics Aesthetic." In The Content of Our Caricature, 31–70. New York University Press, 2020. http://dx.doi.org/10.18574/nyu/9781479813636.003.0004.

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"1 “Impussanations,” Coons, and Civic Ideals: A Black Comics Aesthetic." In The Content of Our Caricature, 31–70. New York University Press, 2020. http://dx.doi.org/10.18574/nyu/9781479822195.003.0005.

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"Comics Modes: Caricature and Illustration in the Crumb Family’s Dirty Laundry." In Critical Approaches to Comics, 45–60. Routledge, 2012. http://dx.doi.org/10.4324/9780203839454-11.

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Conference papers on the topic "Comics and caricature"

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Elízia Borges, Maria. "A proliferação dos cemitérios no Brasil: doenças epidêmicas e o registro de caricaturas." In Colóquio do Comitê Brasileiro de História da Arte. Comitê Brasileiro de História da Arte, 2021. http://dx.doi.org/10.54575/cbha.40.04.

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A partir de 1870 tiveram início inúmeras polêmicas envolvendo a área médica, os políticos liberais, os maçons e os religiosos em torno da defesa da construção de cemitérios secularizados no Brasil. Durante a Primeira República, o fato foi consolidado e podemos considerar esse período como o da proliferação dos cemitérios. Outro fator preponderante para a propagação dessas construções foram as epidemias que ocorreram no país. Mencionamos neste artigo algumas delas: a de febre amarela (1850, Rio de Janeiro); a de cólera (1855, Bahia); a de varíola (1896); a de febre amarela (1892) e a gripe espanhola (1918 a 1919), que foram uma das causas dos primeiros sepultamentos no Cemitério da Consolação (SP,1858). As caricaturas de Ângelo Agostini (1843-1910) datadas de 1866 e 1876 representam esse momento histórico com certo humor e crítica às ações governamentais. A pandemia de Covid-19 surgida o ano passado (2019) e que ainda perdura, também passou a ser representada por caricaturistas segundo o mesmo princípio sarcástico que tanto condiz com a caricatura brasileira, conforme consta na obra de Latuff, de 2020.
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Didoné, Fabiana Machado. "Caricatura e sátira na desterro do século XIX: o periódico crítico Matraca." In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4206.

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A caricatura é uma representação gráfica ou plástica de uma pessoa, idéia ou acontecimento interpretada propositalmente de forma distorcida e exagerada, acentuando ou revelando aspectos específicos. Já a sátira, desenvolvida primeiramente na forma literária, se utiliza da caricatura para fazer julgamentos morais. A sátira social está concentrada em pessoas comuns e situações cotidianas, já a sátira política, ridiculariza figuras públicas e reage a eventos e polêmicas políticas da época em questão. Impiedosos ou amenos, cruéis ou generosos, os caricaturistas, com poucas linhas em uma folha em branco, são capazes de retratar toda uma época.
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Pessoa, Flavio. "O Samba na caricatura das revistas ilustradas (1931-1938)." In 42° Colóquio do Comitê Brasileiro de História da Arte. Comitê Brasileiro de História da Arte, 2023. http://dx.doi.org/10.54575/cbha.42.086.

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Eryilmaz, Önder, and Kayhan Bozgün. "The Effect of Using Cartoons on Primary School Students’ Academic Achievement in Social Studies Courses in Turkey: A Meta Analysis Study." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.49.

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The main purpose of this study is to investigate the effect of using cartoons on primary school students’ academic achievement in social studies courses in Turkey. We preferred to conduct meta-analysis instead of traditional literature review. In accordance with the purpose of the study, we analyzed experimental research such as articles, dissertations, and papers which were obtained from Web of Science, ERIC, Scopus, Proquest, Ebscohost, Google Scholar, The Turkish Council of Higher Education Thesis Center, and Dergipark databases. We used [“cartoon” OR “comic” OR “caricature” AND “social studies”] search code in order to reach convenient publications. As a result of the literature review by using search code, 25 publications that were conducted as experimental studies between 2006 and 2020, were listed. 9 publications were eliminated since they had non-parametric values in normality tests and have no standard deviation values of control and experimental group posttests. Moreover, publications that have no achievement test were eliminated as well. Finally, 16 studies were included. We used R software to analyze the data. Cohen’s d, Hedge’s g values, and sampling variances of all publications were calculated. Heterogeneity and publication bias of studies were also checked before proceeding to the main analysis. The random-effects model was performed to calculate the overall effect size. As a result of the analysis, a large effect size was found. In other words, using cartoons has a large effect on primary school students’ academic achievement in social studies courses in Turkey.
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Aristizábal Mosquera, Diana Carolina, Ruby Alexandra Cerón Mercado, and Luz Karime Gallego Acosta. "Narrativa gráfica." In Encuentro de investigación formativa en Diseño – Semilleros y Grupos de investigación RAD 2022. Cali, Colombia: Red Académica de Diseño - RAD, 2022. http://dx.doi.org/10.53972/rad.eifd.2022.4.18.

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El proyecto que se presenta, surge del proyecto integrador que se elabora en 5° semestre dentro del programa de Diseño Visual adscrito a la Facultad de Ciencias Humanas y Sociales de la Institución Universitaria Antonio José Camacho y se integra a las líneas de investigación del semillero LUMEN adscrito al grupo ANUDAMIENTOS (Cat. B Minciencias) en tanto, contribuye con su objetivo de constitución: Revitalizar las actitudes investigativas para la construcción y sistematización de conocimiento en la disciplina del Diseño en su dominio visual a partir de conocer e indagar sobre asuntos de las manifestaciones visuales de la cultura en contextos específicos. En este sentido, este proyecto: Narrativa gráfica otra forma de hacer memoria. Sensibilización sobre el contexto ambiental mediante el comic, fue desarrollado primero, para destacar ilustradoras de cómics y manga colombianos dentro del proceso de posicionamiento que tiene la narrativa gráfica en el contexto editorial colombiano, puesto como señala Guzmán: la caricatura, el comic, la narración gráfica y la animación se han convertido en una suerte de contracultura que se ha logrado establecer como corriente de expresión, por medio de la cual se impide que no se conviertan en frases de cajón cosas como separación, denuncia y visibilización. Y segundo, para visibilizar manifestaciones de la memoria colectiva de temas tan importantes como la relación de las comunidades con el contexto natural en una sociedad como la colombiana, que demanda posibilidades de impacto real benéfico desde nuevas formas de hacer las cosas e interpretaciones acerca de la realidad que se está viviendo. De allí, que el reconocimiento de las personas como principal fuente de innovación es crucial para lograr soluciones reales. Por ende, este proyecto presenta un proceso de diseño de corte transmedial que permite que el lenguaje del comic, evidencie nuevas formas de hacer y nuevas interpretaciones de la realidad ambiental en Colombia, destacando la importancia cultural a nivel nacional de una práctica digna de admiración como la de los ilustradores e ilustradoras que con extensas jornadas de trabajo nos permiten nuevas miradas reflexivas sobre las posibilidades de futuro que codiseñamos constantemente, a veces sin ser muy consciente de ello.
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