Animating perception: British cartoons from music hall to cinema, 1880 - 1928

This thesis examines the history of animated cartoons in Britain between 1880 and 1928, identifying a body of work that has been largely ignored by film and animation historians, covering the production, distribution, and exhibition of these films. Throughout this history, graphic arts - especially print cartooning and illustration - and the music-hall lightning cartoon act are found to have played a formative role in British animated cartoons. The artists who made the first British animated cartoons were almost exclusively drawn from one of those two fields and thus this work may be considered to form a parallel history of ‘artists’ film’. They brought with them to film a range of concerns from those prior forms that would shape British animated cartoons. Examining that context provides an understanding of the ways British animated cartoons developed in technologic, economic, and aesthetic terms. This work includes the first in-depth history of the music-hall lightning cartoon act, which finds that it anticipates cinematic animation, featuring qualities such as transformation, the movement of line drawings, and the desire to bring drawings to life. Building on this history, a new critical framework for examining these films aesthetically is provided, emphasising the role of the spectator and their perceptual processes. This framework draws upon the work of E.H. Gombrich and Sergei Eisenstein, and extends it to include recent findings from neuroscientific fields. The result is an original aesthetic reading of this body of work, which finds the films to have a deep engagement with the basic perceptual processes involved in viewing moving line drawings

World War II prisoner of war visual art : Investigating its significance in contemporary society

This study examines closely some of the artworks produced by Howard Taylor, Ronald Searle and Ludwig Hirschfeld Mack while they were interned as prisoners of war (POWs) during World War II (WWII). It examines the significance of their POW and post-war artworks in the context of their experiences in WWII, the institutional representation of WWII POW art generally and, more broadly, the context in which wars shape the creative output of imprisoned soldiers and civilians. It further examines how POW artwork has influenced the choice of subject matter for some contemporary artists. I discuss a certain invisibility of POW artwork in public institutions and examine the neglected status of POW artwork in institutional culture, with the intention of reinforcing its significance in contemporary culture as an ethical tool for avoiding war and informing my own visual arts practice. The research deliberately circumvents \u27official\u27 war art, which is art commissioned by political representatives, executed by professional artists and intended for public display. I argue that official art is commonly associated with propaganda, victorious or heroic events, serving to illustrate concepts of nationhood. I explore the reasons why and how some POWs produced visual art and find that POW art has in the main memorialised events, and serves religious purposes and economic purposes such as the exchange of goods for food, and also functioned as a means of secretly passing on information. Art making was also a way to alleviate boredom by providing occupation and mental stimulation

The political cartoonist and the editor

New Zealand Herald cartoonist Malcolm Evans was dismissed from the newspaper after he refused to follow his editor's instruction to cease cartooning on the Israeli-Palestinian conflict. Members of the Jewish community were upset by a number of his cartoons, drawn during the first half of 2003. Evans is not alone among cartoonists to attract the anger of Jewish community lobbies and the hesitation of their editors when presenting cartoons dealing with the activities of the Israeli government. Cartoonists Tony Auth (Philadelphia Inquirer) and Michael Leunig (The Age) have also presented controversial cartoon commenting on the Israeli Government and, with Evans, defend their work on the grounds that while cartoons may offend an audience the content is not necessarily wrong. Cartoonists fiercely defend their licence to mock politicians, governments and states. This article examines this defence and the space within which cartoonists examine political subjects. We analyse the parameters within which mass circulation newspaper editors operate, principally in the Australian context. We defend a wide licence for cartoonists and argue that this licence represents an important measure of free speech in an era when the threat of terrorism looms large on national political agendas

LINES with POWER & PURPOSE: an Editorial Cartoon Collection at the University of Central Oklahoma

This exhibition features over fifty original editorial cartoons from the nation's great metropolitan newspapers during the Golden Age of print journalism. In the mix are artistic novices all the way to seven Pulitzer Prizewinning cartoonists who have earned a total of twelve of these prestigious awards. Spanning the dawn of the 20th century through the early postwar period, these drawings represent noble attempts to interpret a world torn apart by war and economic disruption. They chronicle the challenges of everyday life in the context of enormous change. On a daily basis, these editorial cartoonists delivered biting social commentary made more palatable through amusing illustration. Deceptively simple drawings framed the public's understanding of world events and trends. Along the way, these cartoons provided welcome comic relief.University of Central Oklahoma. College of Liberal Arts. Department of Political Science

Growing Up Cartoonist in the Baby-Boom South: A Memoir and Cartoon Retrospective

Kate Salley Palmer was an inadvertent trailblazer. In the early 1970s, she was a freelance artist living in Clemson, South Carolina. Then the nationally televised Watergate hearings took hold of her, and she found herself drawing cartoon after cartoon about the scandal, whose latest developments she followed as religiously as other people follow soap operas. She started selling a few of the cartoons she couldn\u27t stop drawing to whatever local newspapers would buy them. In 1975, The Greenville News hired her part-time. She was, it turned out, that paper\u27s first-ever political cartoonist. By the next year, the News was running her cartoons regularly, making her South Carolina’s first full-time political cartoonist—and, she discovered, one of only two women then employed as full-time political cartoonists in all of North America.https://tigerprints.clemson.edu/cudp_mono/1013/thumbnail.jp

Censorship and the political cartoonist

Adelaide, S

On the use of the digital moving image in retooling the australian political cartooning tradition to a new media context

This research clarifies the position of the contemporary Australian political cartoonist in the context of a changing media landscape, and examines the implications of the shift of dissemination of news and current events away from news print media to the Internet. The observation that the political cartoon has, throughout its history, adapted and evolved in response to various socio-political and technological changes invites the question of how the art form might continue to endure as a vehicle for subversive political comment in the digital media age. In exploring the creative possibilities afforded by new media technologies and analysing where these outcomes intersect with the conventions and functions of political cartoons, the study specifically locates the digitally constructed, political moving image within the Australian political cartooning tradition. This position is investigated and supported through three key activities: critical engagement with the extant literature; insights gained through interviews with professional, practising political cartoonists deemed to be pioneers of the political moving image; and my development of a creative practice centred on production and dissemination of political animations. The provision of a new, revised taxonomy for the critical analysis and classification of political images compels practitioners, scholars and prize-givers to eschew hitherto inviolable determinants in the characterisation of political cartoon images so that the tradition can endure in the foreseeable future

Picture Collection Subject Index

The Subject Files cover people, places, objects, design, fashion, buildings, nature, and concepts. Research a time period by looking at subjects that are subdivided chronologically, such as Automobiles, Costume, Family Life, Advertising, Furniture, Interiors, Houses, Street Scenes, and U.S. History. The collection covers many decades, from the 19th century to the present day, and contains many images that you won\u27t find on the internet, and they all circulate!https://digitalcommons.risd.edu/picturecollection_indexes/1000/thumbnail.jp

Animating perception: British cartoons from music hall to cinema, 1880 - 1928

This thesis examines the history of animated cartoons in Britain between 1880 and 1928, identifying a body of work that has been largely ignored by film and animation historians, covering the production, distribution, and exhibition of these films. Throughout this history, graphic arts - especially print cartooning and illustration - and the music-hall lightning cartoon act are found to have played a formative role in British animated cartoons. The artists who made the first British animated cartoons were almost exclusively drawn from one of those two fields and thus this work may be considered to form a parallel history of ‘artists’ film’. They brought with them to film a range of concerns from those prior forms that would shape British animated cartoons. Examining that context provides an understanding of the ways British animated cartoons developed in technologic, economic, and aesthetic terms. This work includes the first in-depth history of the music-hall lightning cartoon act, which finds that it anticipates cinematic animation, featuring qualities such as transformation, the movement of line drawings, and the desire to bring drawings to life. Building on this history, a new critical framework for examining these films aesthetically is provided, emphasising the role of the spectator and their perceptual processes. This framework draws upon the work of E.H. Gombrich and Sergei Eisenstein, and extends it to include recent findings from neuroscientific fields. The result is an original aesthetic reading of this body of work, which finds the films to have a deep engagement with the basic perceptual processes involved in viewing moving line drawings

Censorship and moral standards of decency in Japan and the United States as reflected in children's media

Thesis (S.B. in Humanities and Engineering)--Massachusetts Institute of Technology, Dept. of Humanities, 2006.Includes bibliographical references (leaves 50-52).Introduction: Anime (Japanese animation) and manga (Japanese comic books) are extremely popular in Japan amongst consumers of all ages. In America and other non-Japanese countries, the international anime and manga fanbase is rapidly expanding. Yet, in some Western countries such as the United States, comic books and cartoons have traditionally been relegated to the realm of childhood, while in Japan, some anime and manga are targeted at child and adult audiences. Of course, these titles usually deal with issues that are not generally considered (in Japan and elsewhere) appropriate for children. However, even in some manga and anime targeted at children and teenagers, there are issues of sexuality and violence that the general Japanese public considers acceptable for younger audiences, while most American consumers probably believe that such content does not belong in children's media. How, then, does the American publishing and media industry reconcile these ideological disparities when importing and localizing Japanese anime and manga?by Dorothy Ann Phoenix.S.B.in Humanities and Engineerin