Uk Feminist Cartoons And Comics

This book demonstrates that since the 1970s, British feminist cartoons and comics have played an important part in the Women’s Movement in Britain. A key component of this has been humour. This aspect of feminist history in Britain has not previously been documented. The book questions why and how British feminists have used humour in comics form to present serious political messages. It also interrogates what the implications have been for the development of feminist cartoons and for the popularisation of feminism in Britain. The work responds to recent North American feminist comics scholarship that concentrates on North American autobiographical comics of trauma by women. This book highlights the relevance of humour and provides a comparative British perspective. The time frame is 1970 to 2019, chosen as representative of a significant historical period for the development of feminist cartoon and comics activity and of feminist theory and practice. Research methods include archival data collection, complemented by interviews with selected cartoonists. Visual and textual analysis of specific examples draws on literature from humour theory, comics studies and feminist theory. Examples are also considered as responses to the economic, social and political contexts in which they were produced.

This book demonstrates that since the 1970s, British feminist cartoons and comics have played an important part in the Women’s Movement in Britain. A key component of this has been humour. This aspect of feminist history in Britain has not previously been documented. The book questions why and how British feminists have used humour in comics form to present serious political messages. It also interrogates what the implications have been for the development of feminist cartoons and for the popularisation of feminism in Britain. The work responds to recent North American feminist comics scholarship that concentrates on North American autobiographical comics of trauma by women. This book highlights the relevance of humour and provides a comparative British perspective. The time frame is 1970 to 2019, chosen as representative of a significant historical period for the development of feminist cartoon and comics activity and of feminist theory and practice. Research methods include archival data collection, complemented by interviews with selected cartoonists. Visual and textual analysis of specific examples draws on literature from humour theory, comics studies and feminist theory. Examples are also considered as responses to the economic, social and political contexts in which they were produced.

A new voice in comics is incisive, funny, and fiercely feminist. "The mental load. It's incessant, gnawing, exhausting, and disproportionately falls to women. You know the scene--you're making dinner, calling the plumber/doctor/mechanic, checking homework and answering work emails--at the same time. All the while, you are being peppered with questions by your nearest and dearest 'where are my shoes?, 'do we have any cheese?...'" --Australian Broadcasting Corp on Emma's comic In her first book of comic strips, Emma reflects on social and feminist issues by means of simple line drawings, dissecting the mental load, ie all that invisible and unpaid organizing, list-making and planning women do to manage their lives, and the lives of their family members. Most of us carry some form of mental load--about our work, household responsibilities, financial obligations and personal life; but what makes up that burden and how it's distributed within households and understood in offices is not always equal or fair. In her strips Emma deals with themes ranging from maternity leave (it is not a vacation!), domestic violence, the clitoris, the violence of the medical world on women during childbirth, and other feminist issues, and she does so in a straightforward way that is both hilarious and deadly serious.. If you're not laughing, you're probably crying in recognition. Emma's comics also address the everyday outrages and absurdities of immigrant rights, income equality, and police violence. Emma has over 300,000 followers on Facebook, her comics have been. shared 215,000 times, and have elicited comments from 21,000 internet users. An article about her in the French magazine L'Express drew 1.8 million views--a record since the site was created. And her comic has just been picked up by The Guardian. Many women will recognize themselves in THE MENTAL LOAD, which is sure to stir a wide ranging, important debate on what it really means to be a woman today.

Companion to exhibition held at the Cartoon Museum, London, in 2017.

Focusing on British broadsheets such as The Times and The Guardian, and tabloid publications such as The Sun and The Daily Mail, this book looks at the visualization of post-colonial Britain through cartoons. Tahnia Ahmed examines how Irish, Jewish, Sikh and Muslim communities are Othered, interrogating the patterns and trends in the way they are depicted – both consciously and unconsciously – by cartoonists in Britain from the 20th century onwards. She reveals how cartoonists such as Nicholas Garland and Peter Brookes present assimilation as the goal for the portrayed minorities. At the same time, this goal is deemed impossible because difference is ontological and unchangeable. Central to the cartoons explored in this book is the construction of identity and the concept of 'us', demonstrating the role cartoons play in the stability and enduring power of the archetype. Ahmed suggests that cartoons illustrate how racial and religious prejudice subtly interface and reinforce one another. A depiction of religious difference, Ahmed argues, is often actually a cover for outright racism.

This edited collection explores how the relationship between comic art and feminism has been shaped by global, transnational, and local trends, curating analyses of multinational comic art that encompass themes of gender, sexuality, power, vulnerability, assault, abuse, taboo, and trauma. The chapters illuminate in turn the defining features of the aesthetics, materiality, and thematic content of their source material – often expressed with humorous undertones of self-reflection or social criticism – as well as recurring strategies of visualising and narrating female experiences. Broadening the research perspective of feminist comics to include national comics cultures peripheral to the cultural centers of Anglo-American, Franco-Belgian, and Japanese comics, the anthology explores how the dominant narrative or history of canonical works can be challenged or deconstructed by local histories of comics and feminism and their transnational connections, and how local histories complement or challenge the current understanding of the relationship between feminism and comic art. This is an essential collection for scholars and students in comics studies, women and gender studies, media studies, and literature.

Key Terms in Comics Studies is a glossary of over 300 terms and critical concepts currently used in the Anglophone academic study of comics, including those from other languages that are currently adopted and used in English. Written by nearly 100 international and contemporary experts from the field, the entries are succinctly defined, exemplified, and referenced. The entries are 250 words or fewer, placed in alphabetical order, and explicitly cross-referenced to others in the book. Key Terms in Comics Studies is an invaluable tool for both students and established researchers alike.

In this volume, Mira Falardeau looks at the work of great women artists and their experiences in the industry to reveal advice and positive encouragement for future cartoonists. Heavily illustrated with cartoons and artwork from many of the best in the field, the book also asks serious questions about why there have been so few women cartoonists in the field of visual humor and if the digital age is opening more opportunities for female humorists. Falardeau is uniquely positioned to ask these questions. She has spent decades as an art historian, a specialist in visual humor, and the author of several books and essays on cartoonists and their history. She was also a former cartoonist herself—among the first generation of women in her field during the 1970s and 1980s. A History of Women Cartoonists is the first book to offer a truly global survey and analysis of the great women cartoonists of the last three decades—and a welcome addition to the history of comics and cartoons.