Relevant bibliographies by topics / Newspaper comic strips

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

Academic literature on the topic 'Newspaper comic strips'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Newspaper comic strips"

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Savitri, Ayu Ida. "STRIP KOMIK SEBAGAI WADAH PERISTIWA BUDAYA." Sabda : Jurnal Kajian Kebudayaan 11, no. 1 (2016): 25. http://dx.doi.org/10.14710/sabda.v11i1.13220.

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Comic Strip is “a short series of amusing drawings with a small amount of writing which is usually published in a newspaper” (Cambridge 2003: 239). It usually contains stories of what happened at the moment of the comic strips published in the newspaper. That is why, although it cannot be considered as a historical document, it can be considered as a medium of factual events happening at the moment of the newspaper published, delivered in an entertaining packaging. One of those factual events is cultural event related to the culture of the people where the newspaper published. Those events can
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Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero." Frontiers of Narrative Studies 5, no. 2 (2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.

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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419
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Yaszek, Lisa. "“Them Damn Pictures”: Americanization and the Comic Strip in the Progressive Era." Journal of American Studies 28, no. 1 (1994): 23–38. http://dx.doi.org/10.1017/s0021875800026542.

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As William Tweed noted over a century ago, the cartoon, with its combination of graphic and text, can be a dangerous political weapon. Indeed, the Tammany Hall boss's career was destroyed when he was arrested for kidnapping in 1875 — an arrest made by a police officer who recognized Tweed from a newspaper cartoon. Likewise, when comic strips first appeared in the American sensation papers of the 1890s, they too were seen as having important, and potentially threatening, political and social ramifications. Journalists such as Oswald Villard condemned newspaper baron William Randolph Hearst for
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Fallianda, Fallianda, Rani Yuni Astiti, and Zulvy Alivia Hanim. "Analyzing Humor in Newspaper Comic Strips Using Verbal-Visual Analysis." Lingua Cultura 12, no. 4 (2018): 383. http://dx.doi.org/10.21512/lc.v12i4.4911.

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The researchers aimed at analyzing the meaning of humor in newspaper comic strips within a variety of incongruous combinations of multimodal rhetoric. The current research focused on how humor was produced via verbal medium only, via both verbal and visual media, as well as via visual only. The source of data was 74 political comic strips featured in Kompas newspaper. The General Theory of Verbal Humor (GTVH) was adapted as a framework of analysis. The analysis of the data confirms the following categorization: 49 humors appear only in text, 22 humor result from the interaction of text and ima
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Chireau, Yvonne. "Looking for Black Religions in 20th Century Comics, 1931–1993." Religions 10, no. 6 (2019): 400. http://dx.doi.org/10.3390/rel10060400.

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Relationships between religion and comics are generally unexplored in the academic literature. This article provides a brief history of Black religions in comic books, cartoons, animation, and newspaper strips, looking at African American Christianity, Islam, Africana (African diaspora) religions, and folk traditions such as Hoodoo and Conjure in the 20th century. Even though the treatment of Black religions in the comics was informed by stereotypical depictions of race and religion in United States (US) popular culture, African American comics creators contested these by offering alternatives
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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 (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
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이현경. "A Study on Translation of Newspaper Comic Strips from English into Korean: Focused on Humor Translation." Journal of Translation Studies 19, no. 2 (2018): 253–76. http://dx.doi.org/10.15749/jts.2018.19.2.010.

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Leishman, David. "Drawing National Boundaries in Barr’s Ba-Bru Comic Strip Advertising." European Comic Art 12, no. 1 (2019): 65–87. http://dx.doi.org/10.3167/eca.2019.120105.

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Barr’s Irn-Bru (previously Iron Brew), Scotland’s best-known soft drink, was promoted by recurrent comic strip advertisements in Scottish newspapers from 1939 to 1970. ‘The Adventures of Ba-Bru’ featured an eponymous Indian character who was joined by a kilt-wearing companion known as Sandy. This article explores how what the firm presents as the longest-running promotional comic strip in history has helped shape the construction of Scottishness in the drink’s advertising. The exotic nature of the central Ba-Bru figure provides a counterpoint to manifestations of local particularism but also g
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Lambert, Sylvia, and Stephen Israelstam. "The Social History of Alcohol as Portrayed in the Comics up to the End of the Prohibition Era." Journal of Drug Issues 16, no. 4 (1986): 585–608. http://dx.doi.org/10.1177/002204268601600407.

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The mass media tend to shape the values and opinions of their audience as well as reflect the culture in which they exist. The comics have long been an integral part of the media, appealing to a wide range of age and social class. As such, they could have considerable effect on attitudes and behaviours regarding alcohol consumption. In this paper, we examine the comic strips appearing in the daily newspapers before, during and up to the end of the Prohibition era in the United States, to see how alcohol was portrayed during this period when its manufacture and sale were prohibited.
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Okamoto, Rei. ""Fuku-chan" Goes to Java: Images of Indonesia in a Japanese Wartime Newspaper Comic Strip." Asian Journal of Social Science 25, no. 1 (1997): 111–23. http://dx.doi.org/10.1163/030382497x00077.

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AbstractThis article will discuss how a wartime Japanese comic strip portrayed Japan's war against the Allied troops, the natural settings, customs and cultural forms of Java, and the relationship of the Japanese and the Javanese. The discussion is based on a textual analysis of a popular newspaper comic strip, "Fuku-chan" (Little Fuku), during the three-month period in 1942 when Java was the focus of the strip. A close analysis of this widely read newspaper strip reveals how images of Indonesia - a newly occupied, unknown place - were introduced to the Japanese audience at the early stages of
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Dissertations / Theses on the topic "Newspaper comic strips"

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McCoy, Kuleen O. "The funnies are a serious business : how local newspaper editors make decisions concerning diverse and controversial comic strips /." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-08222009-040404/.

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Andrade, Sandra Helena de. "A tira no livro didático: texto ou pretexto ?" Universidade Federal da Paraí­ba, 2009. http://tede.biblioteca.ufpb.br:8080/handle/tede/6388.

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Made available in DSpace on 2015-05-14T12:42:51Z (GMT). No. of bitstreams: 1 parte2.pdf: 2106816 bytes, checksum: b4a057387b58c26a7f0d02e5ccd6e4eb (MD5) Previous issue date: 2009-08-21<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This Master's degree dissertation aims at analysing how Portuguese language textbooks (PLT) use multimodal genres, in particular the newspaper comic strip, investigating whether the genre is used taking into consideration their semantic-discourse and pragmatic aspects or if it is used only as an excuse for grammatical analysis. The
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Sáez, de Adana Herrero Francisco Manuel. "Una Crónica diaria en viñetas: producción, recepción, ideología y dinámicas sociales en los Estados Unidos a través de Terry y los piratas." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/667490.

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Este trabajo se centra en el papel de crónica de una época de la serie de cómics de prensa Terry y los piratas de Milton Caniff. Se analiza cómo la serie llegó a convertirse en una de las fuentes principales de información sobre China para buena parte de la sociedad estadounidense de finales de los años 30. Esta circunstancia traerá como consecuencia que cuando Estados Unidos entra en la Segunda Guerra Mundial, muchos lectores sienten que los acontecimientos narrados en la serie les acercan a entender qué estaba pasando con aquellos familiares o amigos que, en ese momento, estaban luchando en
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Chiu, Sau Wan Anne Terry. "An analysis of the humor in political comic strips in Hong Kong newspapers." HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/643.

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Books on the topic "Newspaper comic strips"

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American newspaper comics: An encyclopedic reference guide. The University of Michigan Press, 2011.

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Margaret, Brentano, and Pulitzer Joseph 1847-1911, eds. The World on Sunday: Graphic art in Joseph Pulitzer's newspaper (1898-1911). Bulfinch Press, 2005.

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Newsprints. Scholastic, Incorporated, 2017.

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NewsPrints. Scholastic, Incorporated, 2017.

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McKenzie, Alan. How to draw and sell-- comic strips-- for newspapers and comic books! North Light Books, 1987.

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McKenzie, Alan. How to draw and sell - comic strips - for newspapers and comic books! Macdonald Orbis, 1988.

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Reading the funnies: Essays on comic strips. Fantagraphics Books, 2001.

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Double talk. Penguin Books, 2005.

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Strickler, Dave. Syndicated comic strips and artists, 1924-1995: The complete index. Comics Access, 1995.

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Wedd, Monty. Ned Kelly. Comicoz, 2013.

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Book chapters on the topic "Newspaper comic strips"

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Ball, Blake Scott. "You’re a Good Man, Charles Schulz." In Charlie Brown's America. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190090463.003.0002.

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Charles Schulz’s early life in St. Paul, Minnesota shaped the world of Peanuts. Playing sports, doodling in class, and reading newspaper comic strips dominated his childhood. His life took an unexpected turn, however, as a young adult. His mother died from cancer and he was drafted to go fight in Europe during World War II. It was an intensely lonely period of his life. During this time he experienced a spiritual awakening and became an active participant in the emerging evangelical revivalist movement. Through practice and persistence, Schulz worked his way from local cartoonist to national phenomenon in a surprisingly short time.
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"Newspaper Strips." In The Routledge Companion to Comics. Routledge, 2016. http://dx.doi.org/10.4324/9781315851334-12.

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Abate, Michelle Ann. "“Then I Could Have a Real Papa and Mama like Other Kids”." In Funny Girls. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820730.003.0002.

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Chapter One spotlights a fundamental, but under-examined, aspect of Harold Gray's popular newspaper strip: Little Orphan Annie as an orphan girl story.When Gray's eleven-year-old moppet made her debut in 1924, many of the most popular novels, poems, and films in the United States featured orphan girls as their protagonists.Given this situation, the comic's original audience would have immediately recognized Annie as participating in this phenomenon.Accordingly, this chapter demonstrates that, far from an incidental detail about the original historical context for Little Orphan Annie, the formula for orphan girl stories serves as both a creative starting point for the comic and its critical end point.Placing Little Orphan Annie back in the context of the orphan girl story-and tracing the way in which this phenomenon operates in Gray's strip-yields new insights about the strip's connection with popular culture, the factors fueling its success, and its primary artistic kinships.
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DiGirolamo, Vincent. "Bitter Cry of Progress." In Crying the News. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780195320251.003.0011.

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New laws call for new stories, and in the early 1900s those stories were increasingly told by muckraking journalists, documentary photographers, and social reformers. Upton Sinclair, Lewis Hine, Jane Addams, and many others focused on the evils of street work, including sexual bartering. But circulation managers professionalized and stepped up their newsboy welfare work. The proliferation of precociously cute newsboy images in advertisements and comic strips further neutralized reform efforts and legitimized newspapers’ use of child labor. Ethnic newspapers multiplied during this period and developed their own sales and distribution forces. Also propelling newspapers into the new century were automobiles, which presented newsboys with a new occupational hazard. Pushed and pulled by the commercial interests of publishers, and the social agendas of reformers, and the economic needs of their families, this generation of newsies rose up to assert their own vision of progress.
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Murray, Chris. "Penny Dreadfuls, Story Papers, and Protosuperheroes (1825–1935)." In The British Superhero. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496807373.003.0002.

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This chapter examines the tradition of periodical adventure stories that existed in Britain during the period 1825–1935, focusing on “story papers” and “penny bloods,” also known as “penny dreadfuls.” It first provides a historical background on the emergence of British comics before discussing “story papers” and “penny dreadfuls,” and especially their relationship with similar publications in America and the characters who, in retrospect, can be seen as protosuperheroes and villains. It also shows how these publications established the market and audience for adventure comics in Britain and influenced the rise of a similar market in America, where dime novels and pulp magazines, along with newspaper strips, would later influence the rise of superhero comics. The chapter concludes with an analysis of three of the early treatments of the superhuman from science-fiction literature: Edward Bulwer-Lytton's The Coming Race (1871), Philip Wylie's The Gladiator (1930), and Olaf Stapledon's Odd John (1935).
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Latham, Don L., and Jonathan M. Hollister. "Framing Community from Inside Out." In The Comics of Alison Bechdel. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825773.003.0016.

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Alison Bechdel’s groundbreaking comic strip Dykes To Watch Out For, which ran from 1983 to 2008 in mostly independent, alternative newspapers as well as online, had an important effect on representing and shaping the LGBTQ, and especially the lesbian, community in the latter decades of the 20<sup>th</sup> century and the first decade of the 21<sup>st</sup> century, a time of great change for the LGBTQ community. Within the world of the comic strip, information, information behavior, and the exchange of information play a key role in helping build and maintain community among the (mostly lesbian) characters. In turn, the identities of the individual members of that community are shaped by that evolving community. This essay will use Jaeger and Burnett’s theory of information worlds as a framework for examining how information and information behaviors help to form and maintain the information world of the lesbian community depicted in Dykes To Watch Out For. It will demonstrate that, as an insider in a marginalized community, Bechdel framed the information world of that community through her art and exported it to other communities outside of her world, thus helping to shape the information worlds of “real-world” lesbian communities over the quarter century that the strip was published.
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DiGirolamo, Vincent. "Yelling the Yellows." In Crying the News. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780195320251.003.0010.

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The 1890s were the heyday of America’s newsboys. The nation’s newspapers rose in number and circulation and its cities swelled with poor immigrant families in need of extra income. African Americans also gravitated to the news trade but encountered much opposition due to Jim Crow segregation. Jacob Riis introduced photography as a tool of reform. Newsgirls came under special scrutiny due to their sexual vulnerability. As ubiquitous in popular culture as they were on city streets, newsies became versatile symbols of enterprise and exploitation in songs, stories, and the sassy color comic strip that gave “yellow journalism” its name. Newsboys’ cries stoked the jingoism that sparked America’s “splendid little war” abroad and rekindled the acrimony that fueled labor unrest at home. They expressed their own discontent in dozens of strikes, climaxing in 1899 with a two-week tussle with those two “great octopuses” of New York journalism, Joseph Pulitzer’s Evening World and William Randolph Hearst’s Evening Journal, all of which helped to remake and reawaken the American working class.
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Zanini, Maria Catarina. "Zenoveva, una colona italiana in fuga (da se stessa)." In Diaspore. Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-238-3/012.

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This paper aims to analyze the comic strip character called Zenovena (or Genovena), created by the comedian Carlos Henrique Iotti, circulating in newspapers and periodicals in southern Brazil since 1983. Zenovena is a typical descendant of Italian immigrants in southern Brazil that was raised in the colony (countryside), but that has been transformed over the years. These changes promote inner conflicts that end up being a source of humor. She is married to Radicci, also a descendant of Italian immigrants and the mother of the young Guilhermino. He is a college student, an environmentalist, a surfer and an inventor, in contrast to the peasant logic of his parents. Zenovena becomes a woman in flight (of herself) whilst reviewing her values, models and patterns in a reflexive and dialogued way.
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