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Journal articles on the topic 'Newspaper comic strips'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

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 That is why, although it cannot be considered as a historical document, it can be considered as a medium of factual events happening at the moment of the newspaper published, delivered in an entertaining packaging.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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Murtiningsih, Bertha Sri Eko. "Representation of 2004 General Election Campaign in Comics Media: Semiotics studies of Comic Ketopraktoon in the 2004 Election Campaign in Kompas Newspaper." Mediterranean Journal of Social Sciences 8, no. 5 (2017): 117–29. http://dx.doi.org/10.1515/mjss-2017-0030.

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Abstract Comic could be a means to represent certain values. The reality is described through the storyline, setting and characterization which are packed in comic rubric. In comic, the whole symbols in the text will give certain meanings. They are including characters, dialogues, words written in word balloons, figure characters, and setting. This combination formed certain meanings which will determine how the reality will be framed by the media. Ketopraktoon is a comic strip which consistently reviews the sociopolitical issues and serves as a semi-comic in Kompas newspaper editorial. The st

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12

Nagels, Katherine Frances. "From the New York Herald to the Italian screen." Feminist Media Histories 3, no. 2 (2017): 175–93. http://dx.doi.org/10.1525/fmh.2017.3.2.175.

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The popular 1907–9 American newspaper comic strip character Fluffy Ruffles was an iconic embodiment of contemporary American femininity between the eras of the Gibson Girl and the later flapper and “it” girl. This article discusses Fluffy Ruffles as a popular phenomenon and incarnation of anxieties about women in the workplace, and how she underwent a metamorphosis in the European press, as preexisting ideas of American youth, wealth, and liberty were grafted onto her character. A decade after her debut in the newspapers, two films—Augusto Genina's partially extant Miss Cyclone (La signorina C

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13

Mayer, Ruth. "Bits and Pieces: Seriality, Shortness and Dream of the Rarebit Fiend." Film Studies 17, no. 1 (2017): 16–31. http://dx.doi.org/10.7227/fs.17.0002.

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This article explores the transmedial seriality of Winsor McCay‘s newspaper comic strip Dream of the Rarebit Fiend (1904–24), tracking the narratives evolution from comic to trick film (Edwin S. Porter‘s The Dream of a Rarebit Fiend, 1906) and animation (McCays own Bug Vaudeville, 1921). In contrast to large parts of the critical response to McCay‘s work, this article does not fore ground the subversive and disruptive dimension of the Rarebit narratives. Instead, it reads both the graphic and filmic narratives as integral parts of the larger serialised culture of modernity, and as attempts to

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14

Ramos, Paulo Eduardo. "Os formatos da tira no ensino." REVISTA INTERSABERES 12, no. 25 (2017): 84. http://dx.doi.org/10.22169/intersaberes.v12i25.580.

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RESUMO Um dos impactos da indústria cultural nas histórias em quadrinhos foi a criação de formatos regulares para a construção de tiras. Necessidade dos jornais, o molde fixo foi o modo encontrado de padronizar a produção para levar o mesmo produto a mais de um diário. Este artigo tem como objetivo demonstrar como esses diferentes formatos narrativos têm sido apropriados por materiais didáticos brasileiros. A exposição procurará demonstrar que a variedade de moldes narrativos tem explicações em seu processo de produção e circulação. É algo que, se contextualizado ao aluno, ajudaria no processo

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15

Mazzenga, Maria. "The Home Front's Cartoony Face: World War Two Through Orphan Annie's Eyes." Prospects 28 (October 2004): 429–63. http://dx.doi.org/10.1017/s0361233300001563.

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September 1945 saw comic-strip star “Orphan Annie” engaged in a debate over popular media with “Professor Pollyanna.” The Professor and his spouse, known to Annie as “Uncle George” and “Aunt Sonja,” were one of many adult couples that took the eleven-year-old orphan into their home throughout the history of the comic strip Little Orphan Annie. Temporary guardians like Uncle George and Aunt Sonja moved in and out of the strip on a regular basis, functioning as a foil for young Annie, the spokeschild of her creator Harold Gray, to express her opinions about the world. In this episode, Annie was

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16

MASON, ANDY. "Black and White in Ink: Discourses of Resistance in South African Cartooning." African and Asian Studies 1, no. 4 (2002): 385–406. http://dx.doi.org/10.1163/156921002x00088.

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ABSTRACT This author contends that cartooning in its various forms in South Africa played an important role in crystallising issues of allegiance and identity, introducing revolutionary concepts into public discourse, undermining the ideological hegemony of the apartheid state and legitimating the political struggle against apartheid. However, in spite of the fact that numerous black newspapers have subsisted to this day, there remains a dearth of black cartoonists in South Africa. The vexing question of why so few black cartoonists have emerged demands an answer. The villains of the piece app

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17

Mulvey, Jeremy. "Pictures with words." Information Design Journal 5, no. 2 (1987): 141–58. http://dx.doi.org/10.1075/idj.5.2.04mul.

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This paper addresses the relationship of pictures and words in illustrated books and newspapers. The author introduces and discusses Roland Barthes' distinction between anchor and relay relationships, and a further development of this distinction by Alain-Marie Bassy. In an anchor relationship, the interpretation of an illustration is anchored to one of its possible meanings by a caption or other linguistic explanation. In a relay relationship, words and pictures are mutually reliant, as in a comic strip. The author suggests that 'defining the relationships between picture and text in this way

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18

DONOVAN, ROBERT J., LYNDA FIELDER, PATRICK DONOVAN, and CLAIRE HANDLEY. "Is trivialisation of alcohol consumption a laughing matter? Alcohol incidence in a metropolitan daily newspaper's comic strips." Drug and Alcohol Review 28, no. 3 (2009): 257–62. http://dx.doi.org/10.1111/j.1465-3362.2009.00030.x.

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19

Chapman, Jane, and Ross Wilson. "Illustrating war-time: Cartoons and the British and Dominion soldier experience during the Great War, 1914–1918." War in History 26, no. 3 (2018): 342–57. http://dx.doi.org/10.1177/0968344517711206.

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This article assesses how time was depicted within illustrated narratives published in trench newspapers and regimental journals by British and Dominion soldiers as a means of adapting to and enduring the experience of the First World War. Through an extensive archival study of these sources, soldiers’ ‘comic strips’ have been used to demonstrate that time is illustrated as a personal and social experience that enables individuals to comprehend their role within the army. Previous assessments of the experience of time on the battlefields have been dominated by the perception that mechanized wa

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20

Izquierdo, José María. "La Guerra civil española como tema en la novela gráfica actual." Bergen Language and Linguistics Studies 10, no. 1 (2019): 11. http://dx.doi.org/10.15845/bells.v10i1.1443.

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The Spanish civil war and its postwar period remain two of the most important historical references of present-day Spain. Along with themes of strictly political nature addressing that period of time and with the negative aspects of the transition to democracy, themes of memory and postmemory (Hirsch 1992 / Liikanen 2015) appear. Both are closely related to – although not only to – the silencing of the victims of the mentioned historical periods. By this, I am referring to the ones defeated and to the next of kin of the disappeared.  Despite the famous affair of the so-called “gent

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21

Tsai, S. "Neuroendocrine Tumor Awareness Program in Taiwan." Journal of Global Oncology 4, Supplement 2 (2018): 137s. http://dx.doi.org/10.1200/jgo.18.20700.

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Background and context: Neuroendocrine tumor (NET) is difficult to detect. It's often presented with symptoms common to other diseases. To raise awareness and improve the understanding of NET, the International Neuroendocrine Cancer Alliance (INCA) announced 10th November as the World NET Cancer Day. HOPE FOUNDATION for CANCER CARE has joined the advocacy events since 2011. Aim: To raise awareness and to improve the understanding of NET. Strategy/Tactics: To raise the awareness of the 10 symptoms of NET. To provide correct information about NET. To improve the understanding of NET. Program/Pol

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22

Bourdaa, Mélanie. "From One Medium to the Next: How Comic Books Create Richer Storylines." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1355.

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Transmedia storytelling, as defined by Henry Jenkins in 2006 in his book Convergence Culture, highlights a production strategy that aims to augment the narration of a cultural work by scattering it across several media platforms—digital or non-digital. The term is certainly quite recent, but the practices are not new and allow us to understand the evolution of the cultural industries and the creation of a new media ecosystem. As Matthew Freeman states, transmedia storytelling always relies on industrial changes, the narration adapting itself to new media synergies and novelties to create engag

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23

Nuriarta, I. Wayan. "KAJIAN VISUAL KARTUN KONPOPILAN." PRASI 12, no. 02 (2017). http://dx.doi.org/10.23887/prasi.v12i02.13922.

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To bring humor or social criticism, a cartoon on newspapers usually uses two kinds of text, such as visual text and verbal text. Both of them are reinforcing the message that delivered by the cartoonist, either humor or criticism. If one of these texts does not exist, the message will be very difficult to understand as they need each other. Konpopilan cartoon is published in Kompas newspaper every Sunday is different. This cartoon firmly states ‘itself’ is a work of visual communication. That background study brought this research has some objectives, such as; (a) To describe the visual langua

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24

López-Hidalgo, Antonio, and Isaac López-Redondo. "Nuevos registros narrativos en el periodismo cómic. Un estudio de caso: La grieta." El profesional de la información, February 15, 2021. http://dx.doi.org/10.3145/epi.2021.ene.17.

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There is an old and close relationship between comic and journalism which is reflected in newspapers through caricatures, bullet points and comic strips. However, comic journalism has emerged in the last decades as a new genre, a creative formula that hybridize comic codes and routines with narratives resources used in inmersive journalism. In the early 1990s, Joe Sacco stood out among a number of authors who popularized this new format, became aware of the journalistic genre condition as an information medium and sought his own formula for telling non-fiction stories. The photographer, origin

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25

Irwanto, Katherine Amadea, Anindito Aditomo, and Lina Natalya. ""Why Fiction is Better than Reality": The Influence of Reading Fiction Narrative on Empathy ["Why Fiction is Better than Reality": Pengaruh Membaca Fiction Narrative terhadap Empati"." ANIMA Indonesian Psychological Journal 35, no. 2 (2020). http://dx.doi.org/10.24123/aipj.v35i2.2909.

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The fictional narrative is a form of literature often found in everyday life, such as in novels or short stories, comic strips in newspapers, and in poetry. Reading fictional literature has a positive effect, however previous research had not as yet shown any conclusive evidence that such reading increases empathy. This research was aimed at testing the influence of reading fictional narratives on empathy, mediated by narrative engagement. The method used in the research was an experimental one, with a pre-test/post-test control group design. 194 undergraduate students were actively involved a

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26

Brabazon, Tara. "Welcome to the Robbiedome." M/C Journal 4, no. 3 (2001). http://dx.doi.org/10.5204/mcj.1907.

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One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decade

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