Comics and Cartoons: A Democratic Art-Form

Maggio, J.

doi:10.1017/s1049096507070357

Cited by 13 publications

(13 citation statements)

References 3 publications

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“…J. Maggio (2007) also says that comics leave a large cognitive space for its readers or viewers to interpret their meaning. ‘The closure takes place between the movement from abstract legisign to signified data in the brain, as well as between panels in the movement of sequential art across the page’ (Maggio 2007: 237).…”

Section: Understanding the Language Of Comicsmentioning

confidence: 99%

“…Maggio (2007) also says that comics leave a large cognitive space for its readers or viewers to interpret their meaning. ‘The closure takes place between the movement from abstract legisign to signified data in the brain, as well as between panels in the movement of sequential art across the page’ (Maggio 2007: 237). Maggio suggests that the comics medium is an art form that is ‘cognitively friendly to contemporary notions of individualistic-liberal democracy’ and allows for individual self-creation (Maggio 2007: 237).…”

Section: Understanding the Language Of Comicsmentioning

confidence: 99%

“…‘The closure takes place between the movement from abstract legisign to signified data in the brain, as well as between panels in the movement of sequential art across the page’ (Maggio 2007: 237). Maggio suggests that the comics medium is an art form that is ‘cognitively friendly to contemporary notions of individualistic-liberal democracy’ and allows for individual self-creation (Maggio 2007: 237). Therefore, the element of imagination is intrinsic to the language of comics.…”

Section: Understanding the Language Of Comicsmentioning

confidence: 99%

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Image, Text and Malaria: Creative Production of a Comic Book

Kumari

2017

Society and Culture in South Asia

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The comics medium is a powerful tool for communication. It employs the language of both text and images. The placement, interrelationship and transition of panels, speech balloons, gutters, lines, script and picture plane are some of the elements that evoke a sense of time and place in comics. The success of comics as an effective medium depends on experiences common to both the creator and audience. In the light of this understanding of the language of comics, and theorisation regarding the ‘production’ of culture, this article analyses the creation procedure of a comic book made to communicate health messages among schoolchildren under a health project run by the directorate of Vector Borne Disease Control Programme in India. Designing Communications 2 2 Name changed. I have used pseudo names for all the private institutes and professionals. , a private agency contracted by the government for its public health programmes, became the site for this production process. The production involved various ‘actants’ 3 3 A. J. Greimas (1983) developed the actantial model where he talked about six actants or facets that define a narrative algorithm. These actants include the subject, the object, the sender, the receiver, the helper and the opponent. This model was further used by Bruno Latour and others in the development of actor–network theory (widely known as ANT) where the focus shifted from action to systems or networks. from the field. It was also constrained by the limits set by the ‘genre’, hence a specific art world. I call the production of such a comic book a ‘creative production’ because it involves a dynamic interplay between the artists’ creativity and the bureaucratic boundaries of the profession of advertising. Following Howard Becker’s idea that artistic production is collective, I describe the detailed contribution of major actors involved in the process of comic book production.

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Section: Understanding the Language Of Comicsmentioning

confidence: 99%

Section: Understanding the Language Of Comicsmentioning

confidence: 99%

Section: Understanding the Language Of Comicsmentioning

confidence: 99%

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Image, Text and Malaria: Creative Production of a Comic Book

Kumari

2017

Society and Culture in South Asia

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“…The evocative open-endedness of the comics medium, the disjuncture between words and text that gives interpretative initiative to the reader, enabling a humorous critique of modern warfare, echoes the dialogical texture of the Mahabharata text (Maggio 2007). Stories seem to erupt from the body of the main narrative allowing the text to speak to a meta-textual universe in which characters slip in and out of the framing narrative.…”

Section: Comics Culture As Social Critiquementioning

confidence: 99%

Comic Gags and the Mahabharata War

Chatterji

2015

Society and Culture in South Asia

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Taking the view that the Mahabharata is a narrative universe rather than just a text, this article explores a new comics experiment that creatively inserts a story within that universe. Using a modified manga style of comics storytelling Shohei Emura and Vidyun Sabhaney provide an alternate telling to the Great Mahabharata War using the canonical tropes and technical devices such as panel size, page layout, word–image relationship and so on that are made possible by the comics style of storytelling. A focus on genre and structural form enables an entry into the sensibility of the great epic, its problematisation of conventional codes in a way that is true to the comics genre of slapstick humour and critical inquiry.

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“…2007; Müller and Özcan 2007). Through stylistic conventions that include exaggeration, ridicule, and distortion (Müller and Özcan 2007), cartoons have a form that ‘helps create a subversive way of understanding the world’ (Maggio 2007, 238). Published under the title ‘Faces of Muhammad’, the cartoons made liberal use of these conventions, as for example, in depicting the Prophet wearing a bomb‐shaped turban with a lighted fuse.…”

Section: Danish Cartoon Crisismentioning

confidence: 99%

You Must Be Joking: The Sociological Critique of Humour and Comic Media

2008

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Citation: LOCKYER, S. and PICKERING, M., 2008 This is the pre-peer-reviewed version of the following article: LOCKYER, S. and PICKERING, M., 2008. You must be joking: the sociological critique of humour and comic media. Sociology Compass, 2 (3), pp. 808-820, which has been published in final form at http://www3.interscience.wiley.com/journal/120185463/abstract 2 You Must Be Joking: The Sociological Critique of Humour and Comic Media AbstractRecent work in the sociological critique of humour and comic media has challenged the notion that humour is an absolute good. In this article we review some of the most interesting work that takes humour seriously and addresses the difficult topic of whether there are ethical limits to humour and media comedy. We outline three main reasons for taking humour seriously and review some of the ways in which humour has been studied sociologically through a consideration of how British 'alternative' comedy directed the work of those interested in the limits of humour in relation to gender, race and ethnicity. We also summarise some of the most controversial examples of contemporary media comedy -the comedic performances and personae of Sacha Baron Cohen (Ali G and Borat) and the Danish cartoons of the Holy Prophet Muhammad -in order to illustrate the importance of the critical analysis of humour and how the ethics of humour can be applied to comic media.

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Comics and Cartoons: A Democratic Art-Form

Cited by 13 publications

References 3 publications

Image, Text and Malaria: Creative Production of a Comic Book

Image, Text and Malaria: Creative Production of a Comic Book

Comic Gags and the Mahabharata War

You Must Be Joking: The Sociological Critique of Humour and Comic Media

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