DOCSLIB.ORG

Comics Journalism: Towards a Definition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Volume 4 Issue 3 INTERNATIONAL JOURNAL OF HUMANITIES AND December 2017 CULTURAL STUDIES ISSN 2356-5926 Comics Journalism: Towards A Definition Kenan Koçak Bilecik Şeyh Edebali University Turkey Abstract The origins of comics journalism are in the Glasgow Looking Glass magazine which is also accepted as the first modern comics. Today’s understanding of comics journalism goes back to Joyce Brabner and Lou Ann Merkle who published Real War Stories in late 1980s which coincides with the rise of graphic novels. It was Joe Sacco who popularised the comics journalism genre in the early 1990s with especially his books on the Israeli–Palestinian conflict and the Bosnian War. There are undeniable similarities between comics journalism and new journalism of the 1960s and 1970s such as subjective reporting and effort to liken the genre to novel writing. Both comics journalism and new journalism are a kind of literary journalism and have roots in the underground tradition of the 1960s. Like that new journalism grew bigger as being against the Vietnam War, comics journalism has expanded after September 11 attacks. Whereas before 9/11 there were only a few comics journalists, this number has grown more than three times after September 11. The issues covered by comics journalism are mostly shaped by American politics although there are also a number of examples dealing with topics like global warming and protests movements. Comics journalism is the last phase of the long history of visual journalism which can be even traced back to cave paintings. This study aims to make a definition of comics journalism by focusing mainly on war journalism. Keywords: Comics, graphic novel, journalism, comics journalism, graphic journalism. http://www.ijhcs.com/index.php/ijhcs/index Page 173 Volume 4 Issue 3 INTERNATIONAL JOURNAL OF HUMANITIES AND December 2017 CULTURAL STUDIES ISSN 2356-5926 1. Introduction Journalism has frequently impacted upon the novel since the rise of the latter as a literary genre in the early modern period. There are many examples of men who were both great journalists and novelists. A selective list of such figures will here suffice to prove the point. Daniel Defoe is not only recognised as one of the founders of the novel, but also he is regarded as one of the world’s first exponents of modern journalism for his account of the hurricane that hit Britain on 29 November 1703, though The Storm was not published until the following summer, and newspapers and newsbooks had already been intermittently or regularly published for some sixty or seventy years in Germany, England and France and since 1541 in Mexico.1 Conversely, Mark Twain contributed to a newspaper run by his older brother, Orion Clemens, as well as to the Virginia City Territorial Enterprise before he gained his popularity thanks to a short story called Jim Smiley and His Jumping Frog,2 which was published in The Saturday Press.3 Ernest Hemingway and George Orwell were two journalists who voluntarily went to fight in the Spanish Civil War, and produced two fine novels filled with their war memories, viz. For Whom the Bell Tolls and Homage to Catalonia respectively. Tom Wolfe and Truman Capote were two pioneers of the New Journalism movement that flourished in 1960s and 1970s, and their reporting underpinned works that are regarded as novels today. Possibly the most recent development in the fusion of journalism and literary prose fiction is comics journalism. It combines drawings and text in order to inform people about events, issues and situations. Additionally, it resembles New Journalism in that both aspire to the status of novel-writing. This paper aims to examine comics journalism in four sections. After the introduction, the first main section seeks the origins of comics journalism together with introducing two important figures who contributed today’s comics journalism. The third section analyses comics journalism in terms of journalistic aspects within its historical, social, and theoretical contexts whereas the following one compares comics journalism with new journalism. The last section tries to give a definition for comics journalism. 2. On the Origins, The Pioneers, and The Populariser of Comics Journalism 2.1. The Origins The origins of comics journalism could be sought in the Glasgow Looking Glass – a title that was changed to the Northern Looking Glass with the sixth issue –, which is now becoming accepted as the first modern comic, created by William Heath (c. 1795-1840), published in nineteen instalments between 11 June 1825 and 3 April 1826. An additional reason in favour of the claim to chronological precedence as a modern comic is that the Glasgow Looking Glass includes sequential stories. Sequentiality is the main feature that sets the publication apart from coetaneous graphic journalism as will be broadly discussed later. 1 John J. Miller, ‘Writing Up a Storm’, The Wall Street Journal, 13 August 2011, <http://online.wsj.com/news/articles/SB10001424053111904800304576476142821212156> [accessed 3 October 2017] 2 Later he altered the title into The Celebrated Jumping Frog of Calaveras County. 3 Mark Twain, ‘Jim Smiley and His Jumping Frog’ The Saturday Press, 18 November 1865, pp. 248-52. <http://digital.lib.lehigh.edu/cdm4/nysp_viewer.php?DMTHUMB=1&search=&ptr=605&CISOPTR=595> [accessed 3 October 2017] http://www.ijhcs.com/index.php/ijhcs/index Page 174 Volume 4 Issue 3 INTERNATIONAL JOURNAL OF HUMANITIES AND December 2017 CULTURAL STUDIES ISSN 2356-5926 To illustrate the magazine’s being first example of comics journalism, let us examine the front page of the first issue of the Northern Looking Glass (the sixth one in the series), which satirizes the then King of France Charles X. On our sample page, the King of France is satirised with eight sequential frames interrelated with each other under the subtitle of France within the title of Politics. The page is divided into two columns having four frames each, and creates a flow of narrative from the top to the bottom of each column. The comic strip is introduced with the caption ‘The following is the manner in which the King of France passes his time at St Cloud’, and the King is portrayed as a coward, tired, unhappy, long-suffering, weak and almost deaf ruler. So, the Glasgow Looking Glass has all the qualities necessary for it to be considered comics journalism: sequentiality, a theme, newsworthiness and even meta- narrative. 2.2. The Pioneers The Cleveland-based liberal social activist Joyce Brabner (1952- ) together with fellow- activist Lou Ann Merkle, who coedited the two-volume comics Real War Stories4 can be seen as the pioneer of comics journalism as they predate Joe Sacco. Even though Brabner is often referred without mentioning Lou Ann Merkle, it is clear from what Braber wrote in the first volume of the Real War Stories that it was actually Lou Ann Merkel who came up with an idea of publishing a pamphlet, which was possible put into this shape by Joyce Brabner herself with her background in comics: 5 ‘When I first met Lou Ann, CCCO [Central Committee for Conscientious Objectors] was thinking (reasonably) about getting some stories out by self-publishing a black and white quick-copy pamphlet, drawn by anybody they could find.’6 Brabner and Merkle’s story ‘A Long Time Ago & Today’ in the first volume of Real War Stories7 can be accepted as very close to our understanding of comics journalism today which has been mostly shaped by Joe Sacco. This story is a clear-cut example of subjective reportage. Brabner and Merkle appear in the story as herself, a journalist, sitting on her desk, asking questions to Felipe who tells his own account of Salvadoran Civil War. 4 Joyce Brabner and Lou Ann Merkle, Real War Stories 1 (Forestville, CA: Eclipse Comics, 1987); Real War Stories 2: Citizen Soldiers (Forestville, CA: Eclipse Comics, 1991). The others who contributed to the volumes are as follows: Bill Sienkiewicz (Artist), Dean Mullaney (Publisher), Catherine Yronwode (Editor-in-Chief), Mike W. Barr (Writer), Steve Bissette (Artist), Brian Bolland (Artist), Mark Farmer (Artist), Rebecca Huntington (Artist), Mark Johnson (Artist), Steve Leialoha (Artist), Paul Mavrides (Artist), Alan Moore (Artist), Nancy O’Connor (Colorist), Denny O’Neil (Writer), Sam Parsons (Colorist), Leonard Rifas (Artist/Writer), John Totleben (Artist) and Tom Yeates (Artist). 5 Joyce Brabner’s other works include: Joyce Brabner and Thomas Yeats, ‘Flashpoint: The LA Penca Bombing’ in Brought to Light: A Graphic Docudrama (London: Titan Books, 1989) [A Flip Book]. Harvey Pekar, Joyce Brabner and Frank Stack, Our Cancer Year (New York: Four Walls Eight Windows, 1994). Joyce Brabner, Mark Badger and Wayne Vansant, Activists! (Stabur Press, 1995). Joyce Brabner and Mark Badger, Animal Rights Comics, 2 vol. (Stabur Press, 1996). 6 Joyce Brabner ‘How This Happened and Who We are’ in Real War Stories #1, p. i. 7 Joyce Brabner and Lou Ann Merkle, ‘A Long Time Ago & Today’, in Real War Stories 1 (Forestville, CA: Eclipse Comics, 1987), pp. 38-51. http://www.ijhcs.com/index.php/ijhcs/index Page 175 Volume 4 Issue 3 INTERNATIONAL JOURNAL OF HUMANITIES AND December 2017 CULTURAL STUDIES ISSN 2356-5926 Brabner and Merkle’s story has real characters and is newsworthy. The main difference from Joe Sacco is that they do not tell their account of the incident, just reflect it from the point of a real character.8 2.3. The Populariser Such is Joe Sacco’s importance in the history and development of comics journalism, that he merits a section (if not several theses) of his own, especially as his name recurs throughout this study. Joe Sacco was born in Malta, on October 2, 1960. When he was one year old, his family immigrated to Australia.
Recommended publications
  • Bill Rogers Collection Inventory (Without Notes).Xlsx

    Bill Rogers Collection Inventory (Without Notes).Xlsx

    Title Publisher Author(s) Illustrator(s) Year Issue No. Donor No. of copies Box # King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 13 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 14 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 12 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench Alan Kupperberg and 1982 11 Bill Rogers 1 J1 Group Ernie Chan King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 10 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench John Buscema, Ernie 1982 9 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 8 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 6 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar Mike Docherty, Art 1988 33 Bill Rogers 1 J1 Nnicholos King Conan Marvel Comics Roy Thomas John Buscema, Danny 1981 5 Bill Rogers 2 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema, Danny 1980 3 Bill Rogers 1 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1980 2 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar M. Silvestri, Art Nichols 1985 29 Bill Rogers 1 J1 Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 30 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 31 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Vince 1986 32 Bill Rogers
  • LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures

    LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures

    LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting
  • Creatives We Make Veteran Stage Actor Reed Birney Wins a Tony

    Creatives We Make Veteran Stage Actor Reed Birney Wins a Tony

    IN THIS SECTION New work from painter The Worlds Judith Shufro Creatives We Make Veteran stage actor Reed Birney wins a Tony Stewart O’Nan’s City of Secrets Alumni Books Shedding Light, Graphically Cartoonist Glidden travels restive Middle East to answer, “What is journalism?” | BY SUSAN SELIGSON CARTOONIST SARAH GLIDDEN’S NEW FULL- Sarah Glidden (from left) Iraq (Drawn & Quarterly, 2016), she chronicles with fi lmmakers Alex Stone- length comic book follows her travels with a pair hill and Sarah Stuteville her own shifting boundaries and doubts as the of her close friends, Alex Stonehill and Sarah in Sulaymaniyah in Iraqi team pursues the stories of an Iranian blogger, Stuteville, both freelance advocacy journalists, Kurdistan, one of the loca- a UN offi cial, a taxi driver, and many refugees, tions in her graphic novel. as they make a documentary about the eff ects including an Iraqi refugee, the subject of Bar- of the Iraq War on refugees in Turkey, Iraqi zan, deported from the United States. Kurdistan, Lebanon, and Syria in 2012, the rela- Glidden’s own cartoon likeness is often tive calm before the storm. Accompanying the group is the bemused or anxious, and an ominous tone pervades the reporters’ childhood friend Dan, a Marine veteran of the Iraq proceedings, refl ecting the confl ict simmering under the War whose reactions to returning to the scene of his deploy- surface. Although the quartet is never in real danger, border ment were being recorded by the two journalists. crossings are dicey and some sources demand anonymity. Glidden (CFA’02) intended to defi ne journalism through Some of the political, religious, and tribal underpinnings of the travails of these reporters and fi lmmakers, who made these confl ict zones defy the often-tidy explanations journal- the 2013 documentary Barzan.
  • The First Amendment, the Public-Private Distinction, and Nongovernmental Suppression of Wartime Political Debate Gregory P

    The First Amendment, the Public-Private Distinction, and Nongovernmental Suppression of Wartime Political Debate Gregory P

    Working Paper Series Villanova University Charles Widger School of Law Year 2004 The First Amendment, The Public-Private Distinction, and Nongovernmental Suppression of Wartime Political Debate Gregory P. Magarian Villanova University School of Law, [email protected] This paper is posted at Villanova University Charles Widger School of Law Digital Repository. http://digitalcommons.law.villanova.edu/wps/art6 THE FIRST AMENDMENT, THE PUBLIC -PRIVA TE DISTINCTION, AND NONGOVERNMENTAL SUPPRESSION OF WARTIME POLITICAL DEBATE 1 BY GREGORY P. MAGARIAN DRAFT 5-12-04 TABLE OF CONTENTS INTRODUCTION ......................................................................................... 1 I. CONFRONTING NONGOVERNMENTAL CENSORSHIP OF POLITICAL DEBATE IN WARTIME .................. 5 A. The Value and Vulnerability of Wartime Political Debate ........................................................................... 5 1. The Historical Vulnerability of Wartime Political Debate to Nongovernmental Suppression ....................................................................... 5 2. The Public Rights Theory of Expressive Freedom and the Necessity of Robust Political Debate for Democratic Self -Government........................ 11 B. Nongovernmental Censorship of Political Speech During the “War on Terrorism” ............................................... 18 1. Misinformation and Suppression of Information by News Media ............................................ 19 2. Exclusions of Political Speakers from Privately Owned Public Spaces.
  • Dick Tracy.” MAX ALLAN COLLINS —Scoop the DICK COMPLETE DICK ® TRACY TRACY

    Dick Tracy.” MAX ALLAN COLLINS —Scoop the DICK COMPLETE DICK ® TRACY TRACY

    $39.99 “The period covered in this volume is arguably one of the strongest in the Gould/Tracy canon, (Different in Canada) and undeniably the cartoonist’s best work since 1952's Crewy Lou continuity. “One of the best things to happen to the Brutality by both the good and bad guys is as strong and disturbing as ever…” comic market in the last few years was IDW’s decision to publish The Complete from the Introduction by Chester Gould’s Dick Tracy.” MAX ALLAN COLLINS —Scoop THE DICK COMPLETE DICK ® TRACY TRACY NEARLY 550 SEQUENTIAL COMICS OCTOBER 1954 In Volume Sixteen—reprinting strips from October 25, 1954 THROUGH through May 13, 1956—Chester Gould presents an amazing MAY 1956 Chester Gould (1900–1985) was born in Pawnee, Oklahoma. number of memorable characters: grotesques such as the He attended Oklahoma A&M (now Oklahoma State murderous Rughead and a 467-lb. killer named Oodles, University) before transferring to Northwestern University in health faddist George Ozone and his wild boys named Neki Chicago, from which he was graduated in 1923. He produced and Hokey, the despicable "Nothing" Yonson, and the amoral the minor comic strips Fillum Fables and The Radio Catts teenager Joe Period. He then introduces nightclub photog- before striking it big with Dick Tracy in 1931. Originally titled Plainclothes Tracy, the rechristened strip became one of turned policewoman Lizz, at a time when women on the the most successful and lauded comic strips of all time, as well force were still a rarity. Plus for the first time Gould brings as a media and merchandising sensation.
  • A Visual-Textual Analysis of Sarah Glidden's

    A Visual-Textual Analysis of Sarah Glidden's

    BLACKOUTS MADE VISIBLE: A VISUAL-TEXTUAL ANALYSIS OF SARAH GLIDDEN’S COMICS JOURNALISM _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial FulfillMent of the RequireMents for the Degree Master of Arts _____________________________________________________ by TYNAN STEWART Dr. Berkley Hudson, Thesis Supervisor DECEMBER 2019 The undersigned, appointed by the dean of the Graduate School, have exaMined the thesis entitleD BLACKOUTS MADE VISIBLE: A VISUAL-TEXTUAL ANALYSIS OF SARAH GLIDDEN’S COMICS JOURNALISM presented by Tynan Stewart, a candidate for the degree of master of arts, and hereby certify that, in their opinion, it is worthy of acceptance. —————————————————————————— Dr. Berkley Hudson —————————————————————————— Dr. Cristina Mislán —————————————————————————— Dr. Ryan Thomas —————————————————————————— Dr. Kristin Schwain DEDICATION For my parents ACKNOWLEDGEMENTS My naMe is at the top of this thesis, but only because of the goodwill and generosity of many, many others. Some of those naMed here never saw a word of my research but were still vital to My broader journalistic education. My first thank you goes to my chair, Berkley Hudson, for his exceptional patience and gracious wisdom over the past year. Next, I extend an enormous thanks to my comMittee meMbers, Cristina Mislán, Kristin Schwain, and Ryan Thomas, for their insights and their tiMe. This thesis would be so much less without My comMittee’s efforts on my behalf. TiM Vos also deserves recognition here for helping Me narrow my initial aMbitions and set the direction this study would eventually take. The Missourian newsroom has been an all-consuming presence in my life for the past two and a half years.
  • What Inflamed the Iraq War?

    What Inflamed the Iraq War?

    Reuters Institute for the Study of Journalism Fellowship Paper, University of Oxford What Inflamed The Iraq War? The Perspectives of American Cartoonists By Rania M.R. Saleh Hilary Term 2008 1 ACKNOWLEDGEMENT I would like to express my deepest appreciation to the Heikal Foundation for Arab Journalism, particularly to its founder, Mr. Mohamed Hassanein Heikal. His support and encouragement made this study come true. Also, special thanks go to Hani Shukrallah, executive director, and Nora Koloyan, for their time and patience. I would like also to give my sincere thanks to Reuters Institute for the Study of Journalism, particularly to its director Dr Sarmila Bose. My warm gratitude goes to Trevor Mostyn, senior advisor, for his time and for his generous help and encouragement, and to Reuter's administrators, Kate and Tori. Special acknowledgement goes to my academic supervisor, Dr. Eduardo Posada Carbo for his general guidance and helpful suggestions and to my specialist supervisor, Dr. Walter Armbrust, for his valuable advice and information. I would like also to thank Professor Avi Shlaim, for his articles on the Middle East and for his concern. Special thanks go to the staff members of the Middle East Center for hosting our (Heikal fellows) final presentation and for their fruitful feedback. My sincere appreciation and gratitude go to my mother for her continuous support, understanding and encouragement, and to all my friends, particularly, Amina Zaghloul and Amr Okasha for telling me about this fellowship program and for their support. Many thanks are to John Kelley for sharing with me information and thoughts on American newspapers with more focus on the Washington Post .
  • The Making of A.D. A.D.: New Orleans After the Deluge

    The Making of A.D. A.D.: New Orleans After the Deluge

    Josh Neufeld’s A.D.: New Orleans After the Deluge HEN THE LEVEES BROKE, everything changed for New Orleans and the Gulf Coast. Josh Neufeld’s A.D.: New Orleans After the Deluge is about Wsurviving Hurricane Katrina—and its ongoing aftermath. Told in serialized webcomic form, A.D. chronicles the lives of a cross-section of Crescent City residents A.D. over the course of one year. These real stories of real people are proudly presented by SMITH magazine. With podcasts, video and a blog augmenting the comic itself, A.D. is New Orleans After the Deluge a nonfiction graphic novel, a new approach to storytelling, and a multifaceted peek into the N ALL TRUE WEBCOMIC FROM personal tales emerging from the storm of the century. A - SMITH MAGAZINE The Making of A.D. [short video from Pulp Secret] smithmag.net/afterthedeluge/video www.smithmag.net/afterthedeluge Josh Neufeld’s A.D. “A WHOLE NEW WAY OF LOOKING AT KATRINA” New Orleans After the Deluge New Orleans After the Deluge is a true story told in 12 parts about six people — Denise, Hamid, Kevin, Leo & Michelle, and the Doctor — who escape and survive www.smithmag.net/afterthedeluge Hurricane Katrina. • A.D. is all true. The characters are real, the dialogue is taken from direct quotes, the depictions of the inside of their homes are what the inside of their homes look Media Downloads like, right down to the DVDs on their shelves and collars on their dogs. Press, bloggers, linkers, and other friends, please feel free to • A.D.
  • The Inventory of the Harold Gray Collection #100

    The Inventory of the Harold Gray Collection #100

    The Inventory of the Harold Gray Collection #100 Howard Gotlieb Archival Research Center Gray, Harold #100 Gifts of Mrs. Harold Gray and others, 1966-1992 Box 1 Folder 1 I. Correspondence. A. Reader mail. 1. Fan mail re: “Little Orphan Annie.” a. 1937. b. 1938. c. 1939. d. Undated (1930s). Folder 2 e. 1940-1943. Folder 3 f. 1944. Folder 4 g. 1945. Folder 5 h. 1946. Folder 6 i. 1947. Folder 7 j. 1948. Folder 8 k. 1949. 2 Box 1 cont’d. Folder 9 l. Undated (1940s). Folder 10 m. 1950. Folder 11 n. 1951. Folder 12 o. 1952. Folder 13 p. 1953-1955. Folder 14 q. 1957-1959. Folder 15 r. Undated (1950s). Folder 16 s. 1960. Folder 17 t. 1961. Folder 18 u. 1962. Folder 19 v. 1963. 3 Box 1 cont’d. Folder 20 w. 1964. Folder 21 x. 1965. Folder 22 y. 1966. Folder 23 z. 1967. Folder 24 aa. 1968. Folder 25 bb. Undated (1960s). Folder 26 2. Reader comments, criticisms and complaints. a. TLS re: depiction of social work in “Annie,” Mar. 3, 1937. Folder 27 b. Letters re: “Annie” character names, 1938-1966. Folder 28 c. Re: “Annie”’s dress and appearance, 1941-1952. Folder 29 d. Protests re: African-American character in “Annie,” 1942; includes: (i) “Maw Green” comic strip. 4 Box 1 cont’d. (ii) TL from HG to R. B. Chandler, publisher of the Mobile Press Register, explaining his choice to draw a black character, asking for understanding, and stating his personal stance on issue of the “color barrier,” Aug.
  • Journal of Visual Culture

    Journal of Visual Culture

    Journal of Visual Culture http://vcu.sagepub.com/ Just Joking? Chimps, Obama and Racial Stereotype Dora Apel Journal of Visual Culture 2009 8: 134 DOI: 10.1177/14704129090080020203 The online version of this article can be found at: http://vcu.sagepub.com/content/8/2/134 Published by: http://www.sagepublications.com Additional services and information for Journal of Visual Culture can be found at: Email Alerts: http://vcu.sagepub.com/cgi/alerts Subscriptions: http://vcu.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://vcu.sagepub.com/content/8/2/134.refs.html >> Version of Record - Nov 20, 2009 What is This? Downloaded from vcu.sagepub.com at WAYNE STATE UNIVERSITY on October 8, 2014 134 journal of visual culture 8(2) Just Joking? Chimps, Obama and Racial Stereotype We are decidedly not in a ‘post-racial’ America, whatever that may look like; indeed, many have been made more uneasy by the election of a black president and the accompanying euphoria, evoking a concomitant racial backlash in the form of allegedly satirical visual imagery. Such imagery attempts to dispel anxieties about race and ‘blackness’ by reifying the old racial stereotypes that suggest African Americans are really culturally and intellectually inferior and therefore not to be feared, that the threat of blackness can be neutralized or subverted through caricature and mockery. When the perpetrators and promulgators of such imagery are caught in the light of national media and accused of racial bias, whether blatant or implied, they always resort to the same ideological escape hatch: it was only ‘a joke’.
  • A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College

    A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College

    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Duncan, Ralph Randolph II, "Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form." (1990). LSU Historical Dissertations and Theses. 4910. https://digitalcommons.lsu.edu/gradschool_disstheses/4910 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The qualityof this reproduction is dependent upon the quality of the copysubmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
  • 2020 Highlights and Impact Report

    2020 Highlights and Impact Report

    2020 Highlights and Impact Report Reveal empowers the public through investigative journalism and groundbreaking storytelling to spark action, improve lives and protect our democracy. Lead Sound Designer Jim Briggs, Host Al Letson, and Senior Radio Editor Jen Chien. Credit: Gabriel Hongsdusit. In early March, we redeployed our newsroom to cover the 2020 coronavirus. What we found: by the numbers • States being hit the hardest by the pandemic are being left behind by the Reveal radio and Paycheck Protection Program. We analyzed 1.6 million Small Business podcast episodes: 52 Administration loans and found that small businesses in states that President Donald Trump won in 2016 received a disproportionate amount of the program’s funding compared with those where Hillary Public radio stations Clinton won. Citing our work, more than two dozen members of airing Reveal: 564 Congress, led by California Rep. Jackie Speier, are calling for a Government Accountability Office investigation of the loan program. Radio audience: • Under Gov. Arnold Schwarzenegger, California created a massive Over 1 million medical reserve – with acute care beds, ventilators and N95 masks – listeners per week and then let it collapse during Gov. Jerry Brown’s administration. Published in partnership with the Los Angeles Times, the story led to 15 Podcast audience: op-eds in other California news outlets and was cited by local and national publications. Downloaded 1.3 million times • The Department of Veterans Affairs was rationing protective gear for its each month. health care workers. Eight members of Congress wrote a letter to Vice President Mike Pence demanding change in the wake of our reporting.