Jane Chapman opens this collection with a detailed examination of the images of women in two Seco... more Jane Chapman opens this collection with a detailed examination of the images of women in two Second World War comic strips - Wanda the War Girl from the (Sydney) Sunday Telegraph and Jane at War from the UK's Daily Mirror. There are essential differences in how the two heroines respond to the animated dangers of wartime, as drawn by respectively, Kath O'Brien and Norman Pett. As Chapman reveals, both characters portray typical 1940's values, but in different ways: the female character of Wanda was powerful and productive in the largely masculine wartime arena, whereas Jane was brave and well intentioned, but accident prone, that is, regularly losing her clothes. For both characters, fashion provided pin up value. These fictionalized portrayals were exaggerated for dramatic effect, but on a deeper level these images pushed to the fore the reality of how women throughout Australia, England and the United States acted for the Allied war effort. In hindsight, the added responsibilities for women during wartime would ultimately prove useful for bettering the women's position in the debate for equality between the sexes. In Wanda and Jane's depictions of war-time bravery, their efforts became a valid cultural record of the period. The presence of women in wartime, however fictionalized, could be viewed as a move that would further collapse the 19th century notion that 'women's place is in the home.'
Throughout the 20th century, cartoons relentlessly appeared in all sorts of newspapers, evidence ... more Throughout the 20th century, cartoons relentlessly appeared in all sorts of newspapers, evidence of the immense cultural impact of illustrative satire long before the era of television. Many events were recorded in print, such as the Great War, the 1916 Easter Rising, women’s suffrage, the Second World War, and the Cold War. This chapter uses Gombrich’s ‘6 point filter’ for cartoon analysis to present both case studies and longer- term trends. Case studies include pioneering Irish satire in The Lepracaun, and British football cartoons used to present the perspectives of the working - class British soldier from 1914 to 1918. The authors analyse several trends over time, including increased ‘creative acerbity’, for instance during ‘The Troubles’ in Northern Ireland, through to a greater personalisation of issues and use of a celebrity approach, often as propaganda during the Cold War and Vietnam. Findings from the analysis of over a thousand images point to an increase in derivative amateur cartoons, which is construed as a democratic tool for expression.
Broadcast Journalism offers a critical analysis of the key skills required to work in the modern ... more Broadcast Journalism offers a critical analysis of the key skills required to work in the modern studio, on-location, or on-line, with chapters written by industry professionals from the BBC, ITV, CNN and independent production companies in the UK and US. Areas highlighted include: • Interviewing • Researching • Editing • Writing • Reporting The practical tips are balanced with chapters on representation, ethics, law, economics and history, as well as specialist areas such as documentary and the reporting of politics, business, sport and celebrity. Broadcast Journalism concludes with a vital chapter on career planning to act as a springboard for your future work in the broadcast industry.
In January 1915 the highest-selling daily newspaper in Britain, the Daily Mirror, carried the hea... more In January 1915 the highest-selling daily newspaper in Britain, the Daily Mirror, carried the headline ‘Germany and the Big and Little Willies, who represent Germany, face […] imminent disaster’.1 The Mirror could be confident that its readership would recognise the epithets of the German Kaiser and his son bestowed upon them by the paper’s popular staff cartoonist, William Kerridge Haselden. Haselden’s comic episodes featuring the Kaiser and the Crown Prince eventually reached 159 in total. These were so popular with the Mirror’s audience that they were collected into book form as The Sad Adventures of Big and Little Willie in 1915; such compilations were published by the Mirror during and immediately after the war years. These cartoons found popularity both at home and abroad, and were, said the German Kaiser when interviewed by the Mirror post-war, ‘damnably effective’ when compared to the less subtle forms of German propaganda (Horn: 1976, 306). Indeed their names permeated even the British military. The first tank prototype was nicknamed ‘Little Willie’ in tribute to Haselden’s character, and its successor ‘Big Willie’ saw active service on the front lines.2
This chapter explores the use of humour as a tool to expose the perceived ‘incorrect’ political t... more This chapter explores the use of humour as a tool to expose the perceived ‘incorrect’ political thinking, or ‘false consciousness’, of the ‘common worker’ in English-speaking labour movement comic strips. Humour was used both to entertain and to educate. In order to achieve the latter, the comic strips repeated concepts discussed in trade union and socialist newspapers in an easily digestible form. This allows scholars today to triangulate and cross-reference editorial and comic strip newspaper content, as well as other sources (Collingwood: 1935), leading to a greater understanding of mentalite as a record of the Left in the First World War.
Jane Chapman opens this collection with a detailed examination of the images of women in two Seco... more Jane Chapman opens this collection with a detailed examination of the images of women in two Second World War comic strips - Wanda the War Girl from the (Sydney) Sunday Telegraph and Jane at War from the UK's Daily Mirror. There are essential differences in how the two heroines respond to the animated dangers of wartime, as drawn by respectively, Kath O'Brien and Norman Pett. As Chapman reveals, both characters portray typical 1940's values, but in different ways: the female character of Wanda was powerful and productive in the largely masculine wartime arena, whereas Jane was brave and well intentioned, but accident prone, that is, regularly losing her clothes. For both characters, fashion provided pin up value. These fictionalized portrayals were exaggerated for dramatic effect, but on a deeper level these images pushed to the fore the reality of how women throughout Australia, England and the United States acted for the Allied war effort. In hindsight, the added responsibilities for women during wartime would ultimately prove useful for bettering the women's position in the debate for equality between the sexes. In Wanda and Jane's depictions of war-time bravery, their efforts became a valid cultural record of the period. The presence of women in wartime, however fictionalized, could be viewed as a move that would further collapse the 19th century notion that 'women's place is in the home.'
Throughout the 20th century, cartoons relentlessly appeared in all sorts of newspapers, evidence ... more Throughout the 20th century, cartoons relentlessly appeared in all sorts of newspapers, evidence of the immense cultural impact of illustrative satire long before the era of television. Many events were recorded in print, such as the Great War, the 1916 Easter Rising, women’s suffrage, the Second World War, and the Cold War. This chapter uses Gombrich’s ‘6 point filter’ for cartoon analysis to present both case studies and longer- term trends. Case studies include pioneering Irish satire in The Lepracaun, and British football cartoons used to present the perspectives of the working - class British soldier from 1914 to 1918. The authors analyse several trends over time, including increased ‘creative acerbity’, for instance during ‘The Troubles’ in Northern Ireland, through to a greater personalisation of issues and use of a celebrity approach, often as propaganda during the Cold War and Vietnam. Findings from the analysis of over a thousand images point to an increase in derivative amateur cartoons, which is construed as a democratic tool for expression.
Broadcast Journalism offers a critical analysis of the key skills required to work in the modern ... more Broadcast Journalism offers a critical analysis of the key skills required to work in the modern studio, on-location, or on-line, with chapters written by industry professionals from the BBC, ITV, CNN and independent production companies in the UK and US. Areas highlighted include: • Interviewing • Researching • Editing • Writing • Reporting The practical tips are balanced with chapters on representation, ethics, law, economics and history, as well as specialist areas such as documentary and the reporting of politics, business, sport and celebrity. Broadcast Journalism concludes with a vital chapter on career planning to act as a springboard for your future work in the broadcast industry.
In January 1915 the highest-selling daily newspaper in Britain, the Daily Mirror, carried the hea... more In January 1915 the highest-selling daily newspaper in Britain, the Daily Mirror, carried the headline ‘Germany and the Big and Little Willies, who represent Germany, face […] imminent disaster’.1 The Mirror could be confident that its readership would recognise the epithets of the German Kaiser and his son bestowed upon them by the paper’s popular staff cartoonist, William Kerridge Haselden. Haselden’s comic episodes featuring the Kaiser and the Crown Prince eventually reached 159 in total. These were so popular with the Mirror’s audience that they were collected into book form as The Sad Adventures of Big and Little Willie in 1915; such compilations were published by the Mirror during and immediately after the war years. These cartoons found popularity both at home and abroad, and were, said the German Kaiser when interviewed by the Mirror post-war, ‘damnably effective’ when compared to the less subtle forms of German propaganda (Horn: 1976, 306). Indeed their names permeated even the British military. The first tank prototype was nicknamed ‘Little Willie’ in tribute to Haselden’s character, and its successor ‘Big Willie’ saw active service on the front lines.2
This chapter explores the use of humour as a tool to expose the perceived ‘incorrect’ political t... more This chapter explores the use of humour as a tool to expose the perceived ‘incorrect’ political thinking, or ‘false consciousness’, of the ‘common worker’ in English-speaking labour movement comic strips. Humour was used both to entertain and to educate. In order to achieve the latter, the comic strips repeated concepts discussed in trade union and socialist newspapers in an easily digestible form. This allows scholars today to triangulate and cross-reference editorial and comic strip newspaper content, as well as other sources (Collingwood: 1935), leading to a greater understanding of mentalite as a record of the Left in the First World War.
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