Gay Content in Newspaper Comics

2012 ◽  
Vol 35 (4) ◽  
pp. 304-314 ◽  
Author(s):  
Jeffery P. Dennis
Keyword(s):  
Sex Roles ◽  
2004 ◽  
Vol 51 (7/8) ◽  
pp. 423-431 ◽  
Author(s):  
Jack Glascock ◽  
Catherine Preston-Schreck

2005 ◽  
Vol 4 (2) ◽  
pp. 173-213
Author(s):  
Kerry Soper

Many fans and scholars of newspaper comics have observed that an excellent way to chart a social history of American culture in the twentieth century is to look at the mainstream comic strip page. This may be especially true of the first half of the twentieth century when comic strips were avidly followed by readers from almost all age, class, and ethnic demographics. Because of this breadth of popularity, the comics page was a fairly accurate reflector (and occasionally, shaper) of fashions, fads, humor, politics, and racial prejudices. Early cartoonists' ability to place their fingers on the American pulse can largely be attributed to the industry's eagerness to please readers: as a lowbrow entertainment that targeted broad audiences through street corner sales, and later, national syndication, it tried to anticipate the characters, comedy, and ideological content that would attract and retain devoted readers. A few iconoclastic cartoonists such as Al Capp (Li'l Abner) and George Herriman (Krazy Kat) challenged readers with topical satire or appealed to niche audiences with quirky humor and aesthetics; but even the most innovative work in the medium relied on a sort of call and response between core readers, syndicates, editors, and artists—a back and forth that insured that the cartoonist's work resonated with, or spoke for, its fans.


JAMA ◽  
1978 ◽  
Vol 240 (8) ◽  
pp. 789
Author(s):  
Lester S. King
Keyword(s):  

1955 ◽  
Vol 61 (1) ◽  
pp. 26-30 ◽  
Author(s):  
Leo Bogart
Keyword(s):  

1986 ◽  
Vol 18 (3) ◽  
pp. 243-256 ◽  
Author(s):  
Patricia R. Kelly

This study examined the effect of the content of reading material on students' perceptions of reading as masculine or feminine. Students in this study included 492 pupils (255 females, 237 males) from two suburban school districts. Students were enrolled in kindergarten, grades 2, 4, 6, 8, and high school. Students were shown a slide presentation consisting of 60 slides depicting various children's activities including the following reading activities: reading a book, a TV Guide, a mystery book, the newspaper comics, a science book, a dictionary, an animal book, a running book, and a poetry book. The reading slides were interwoven among nonreading activity slides to mask the emphasis of the study. In the slides, only the hands of the children were shown to prevent identification of the child in each slide as male or female. As each slide was shown, students were directed to respond by circling either “boy” or “girl” on their answer sheets. The total responses of “boy” for each reading item were analyzed for male, female, and total students. The percentages of responses of “boy” were generated and chi square analyses were conducted to determine differences between “boy” versus “girl” responses. The data indicated that the content of the reading material affected students' responses. Depending on the sex and grade level of the students, some reading items were viewed as masculine, some as feminine, and one as equally masculine and feminine. The specific content of the reading materials influenced the way in which reading was perceived.


Author(s):  
Kevin Haworth

This chapter explores the origins of Israeli comics, with a particular focus on three early women comics creators: Leah Goldberg, Friedel Stern, and Elisheva Nadal. It then explores the work of three influential artists from the 1970s-1980s: Dudu Geva, Uri Fink, and Michel Kichka. It then describes Modan's entry into comics, including her army service, her training at Bezalel Academy of Art and Design, her first newspaper comics, and her short-lived editorship of Israeli Mad magazine.


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