Modern Cartoon Research Articles

CUMHURİYET SONRASI 1950 KUŞAĞI İLE ÇAĞDAŞLAŞAN TÜRK GRAFİK MİZAHI ÜZERİNE BİR İNCELEME: TURHAN SELÇUK ÖRNEĞİ

Considering the development of graphic humor in our country, it is seen that it is modernized parallel to the industrial and social developments after the Republic. Especially with İhap Hulusi Görey, the increase in graphic design productions before the state and the establishment of the Poster Workshop, the narrative of the graphic language also affected the art of caricature. In this process, graphic art productions became visible in the country's history. Modern cartoon lines, which began to appear with the works of Cemal Nadir Güler, Necmi Rıza Ayça, Kozma Togo, and Ratip Tahir, attracted attention in the world with Saul Steinberg's modern graphic humor style in the 1950s, and Turhan Selçuk, along with many cartoonists, began to give examples in our country. The word "Graphic Humor," which refers to the graphic values in his lines and the lines that gain meaning with the story of pure lines free from writing, has started to be used more frequently for his works. The artist, whose recognition significantly increased with the comic book "Abdülcanbaz," is one of the rare illustrators who can be recognized by his lines, even if he doesn't sign the works he produces in his style. The artist, whose recognition significantly increased with the comic book "Abdülcanbaz" is one of the rare illustrators that can be recognized by his lines, even if he doesn't sign the works he produces in his style. In addition, the artist, also known internationally, has made a name for himself among the press cartoonists with his lines interpreting social and political determinations. This study uses the systematic data scanning method to examine the artistic life of Turhan Selçuk, Türkiye's pioneering graphic humor artist, as the graphic representative of contemporary lines.

Cartoon images as a means of national and cultural self-identification in Modern China

Chinese animation of the beginning of the XXI century shows significant progress. A number of cartoons and animated series have been released. The hypothesis of the study is that their imagery, plots, and artistic features differ from foreign cartoons and gradually acquire a national identity. This process began in the 2000s, and its pace is only increasing, while it arouses interest from foreign studies, including Russian ones. The typological analysis of the images of the characters of famous Chinese cartoons created at the beginning of the XXI century, as well as the analysis of stylistic and artistic features used by the authors to convey the uniqueness of the character, as well as to emphasize its belonging to Chinese culture, is the main problem of the article. The purpose of this research is to study the specifics of modern Chinese cartoon characters, to identify the features of the development process and the formation of their individual traits in accordance with national characteristics. Chinese animators tend to use the language of traditional art, attributes and symbols characteristic of the national culture. An appeal to the analysis of modern cartoon pictures allows us to highlight the main features of animated characters "with Chinese specifics". In addition, it is of interest to compare the features of the formation of images associated with China in foreign animated films and the characteristic features of characters appearing in the works of modern Chinese animators.

ПОЛИТИЧЕСКОЕ И СОЦИАЛЬНОЕ В СОВРЕМЕННЫХ МУЛЬТФИЛЬМАХ: РЕЖИМНЫЕ ТРАНСФОРМАЦИИ И НОВЫЕ ЭТИЧЕСКИЕ НОРМЫ

В статье рассмотрены новые направления социально-политической трансформации современного общества и их отражение в мультипликации. Показана взаимосвязь изменения социальных норм и базовых сюжетных линий мультипликационных фильмов. Особое внимание уделяется возрастающей роли горизонтальных социальных связей и повышению ценности институтов семьи и репутации, вызванному высочайшей степенью транспарентности информационного общества. При этом ценность индивидуализма отходит на второй план, уступая место взаимопомощи для достижения общего блага. Кроме того, отмечено изменение представлений о романтической любви и отношениях поколений. Проведен анализ иллюстраций создания и разрушения авторитарных политических моделей в современных мультфильмах. Показана актуальность в мультипликационных фильмах тем борьбы с тиранией и гражданской самоорганизации.Popular culture reflects not only events, but also the nature of the modern era and problematic aspects that require the attention of the state and society. The article examines new vectors of socio-political transformation of modern society and their reflection in animation. The study of modern cartoons shows that they have replaced traditional myths and began to broadcast social norms and their transformation. Special attention is paid to the growing role of horizontal ties and the increase in the value of the family and the institution of reputation, caused by the highest degree of transparency of the modern information society. This is clearly emphasized in the plots of such cartoons as Frozen, Moana, Brave, Inside Out, Finding Nemo, and Coco. All cartoons show the hero’s rebellion, which results in an understanding of family ties’ value. In addition, the article notes a change in ideas about romantic love. At the same time, the value of individualism fades into the background, giving way to mutual assistance to achieve the common good. The article emphasizes that atomization and individualism were characteristic of human culture for a fairly short period of time. They appeared after the collapse of traditional society, urbanization and the next industrial revolution. However, later urbanization was replaced by hypeurbanization along with information transparency, which, relying on new technical means, revived many features of the traditional society. Moana’s plot demonstrates the reduction of the atomization of modern society, the negative side of the high level of individualism, which is increasingly difficult to demonstrate today due to the rapidly increasing role of social connections. The conflict of civilizations described by Huntington is not reflected in modern multiplication. Anyone who seemed to be the enemy and the embodiment of evil, upon closer examination, turns out to be either a victim in need of help, or a potential ally. In this specific, often repeated plot, it is not difficult to see the influence of postcolonialism as a direction of modern thought and public discourse. Illustrations of the formation, functioning and destruction of authoritarian political models in modern cartoons are analyzed. The relevance of the theme of the fight against tyranny in animated films is shown. Examples include Toy Story 3, A Bug’s Life and the animated series Watership Down. In the first case, the dictator imposes on society the ideology of a hostile external world, which forms the authoritarian political model’s ideological basis. Its organizational basis is represented by a repressive mechanism consisting of security, surveillance and a closed perimeter. This brings the presented model closer to totalitarian political regimes, because modern autocracies do not hinder the intention of those who disagree with leaving the country. This helps them maintain their power for as long as possible. In order to maintain this regime, a privileged caste is created, represented by the power apparatus (guards who are allowed gambling and additional consumption). In addition, the security apparatus has the right to carry out violence against all other members of society. The plot of A Bug’s Life also shows society’s struggle against tyranny, which is carried out through a combination of the direct threat of violence and propaganda. The method of intimidating the tyrant Hopper shows that he does not perceive himself as a legitimate bearer of power and recipient of resources. Internal recognition of its own illegitimacy provokes a reluctance to make concessions, reach a mutually acceptable compromise and negotiate, as the legitimate government usually does. Direct political content is also found in Watership Down. Within the framework of the narrative for children, the main attributes of the classic fascist dictatorship are politically realistic. The authors draw attention to the fact that the basis for the alternative to dictatorship is not atomization and chaotic violence, but civic organization and mutual assistance.

The Reception of the Epic Image in Modern Cartoons: the Example of the Cartoon "Alyosha Popovich and the Tugarin the Serpent"

The Reception of the Epic Image in Modern Cartoons: the Example of the Cartoon "Alyosha Popovich and the Tugarin the Serpent"

Gender Regimes in Animation Movies or About What Modern Cinderella Should Be

A good story is always in demand. But today the fairy tale is not only told in the mode of verbal translation in the family circle, it becomes the subject of repeated media transformations form, printed illustrated text, comic, film, TV series, cartoon, video game, etc. With the spread and development of media researchers began to pay more attention to the structure of the narrative, “worlds of history”, are still in demand, the various media platforms (transmedial), which combine a popular medium with a popular archetypical history. This is especially true of cartoons, as they are one of the most popular genres among children. Evidence suggests that children tend to imitate not only their parents and inner family circle behavior, but also cartoon characters, including their gender-specific behavior. Since most modern cartoons continue to borrow stories from classic fairy tales, they inevitably reproduce the gender-stereotypical behavior of the main characters of ancient times. Or, in response to social requests, the plot and character are repaired. In the article we describe the main findings of the study, where we studied folk stories, as well as the plots of modern cartoons. For the study we used a database of folk tales by Stith Thompson, as well as narrative functions in the concept of Vladimir Propp, adapting them to the aspect of female gender. The aim of the study is to reveal how gender socialization is constructed and mediated by media in popular fairy tales. For this purpose, in the study we use critical discourse analysis of modern cartoons.

Precedent units from the texts of children’s culture in modern Ukrainian communication

Abstract: The article examines the сorpus of precedent statements and precedent names from the texts of childhood culture, which already have become active nominative-evaluative units of modern Ukrainian communication (journalistic, political, advertising, artistic, conversational, etc.). These units are classified into several functional and thematic groups: 1) which are genetically connected with the texts of children’s literature (national and world), 2) which are genetically connected with the texts of children’s films and cartoons, 3) which are genetically connected with the texts of children’s songs. Much less often speakers use precedent statements and names from texts of Ukrainian national riddles, counters, games, etc. The communicative relevance and pragmatic load of these precedent units in oral and written texts of different styles are analyzed. Structural and semantic types of their exploitation are demonstrated too. It is proved that in modern communicative practice precedent statements and precedent names from the texts of “childhood culture” are functioning as effective tool of secondary nomination of persons, situations, etc. The researched material gives grounds to single out several typical communicative-evaluative models of reactualization of popular precedent phenomena from the texts of children’s literature: 1) precedent names that characterize a person, phenomenon, object, etc; 2) precedent names and statements associatively correlated with the situation. Precedent phenomena from the texts of foreign literature for children as well as from many modern cartoons and children’s feature films adult speakers are naturally perceived as signs of “foreign” culture and require culturological commentary. In living language practice, under the influence of lingual and extralingual factors, there is usually an expansion of the semantics of precedent phenomena. Keywords: texts of children’s culture, modern Ukrainian language practice precedent units, precedent phenomena, precedent names, precedent statements, children’s literature, children’s movies and cartoons, children’s songs.

Slang in animated cartoons: Translation peculiarities

The research focuses on analysing the function of slang in modern cartoons (Madagascar 2, Kung Fu Panda, Shrek, Open Season, Cars) as well as translation strategies used to convey accurate meaning. Our data from film scripts (163 examples containing slang terms) has proved that slang, as an important part of cartoons’ verbal component, should be and mainly retained in translation. Excerpts from original cartoons scripts show slang use, that may function both for the protagonists’ characterisation and for the mapping of humor (carnivalesque) world picture. Componential analysis of meaning – breaking down the sense of slang terms into their minimal distinctive features – was used to determine the meaning of lexemes and reconstruct semantic domains actively verbalised by slang.
 The assumption has been made that due to the universality of domains slang can be potentially translated in most cases. Componential analysis is particularly applicable to semantically related lexemes (in one language or comparable ones).
 A thorough analysis of slang translation showed the employment of the following strategies: stylistic compensation (50.3%), literal translation (44.7%), omission (4.9%) and cultural equivalence (0.1%). As seen, a substantial proportion of the slang words can be translated from English into Ukrainian without significant loss of meaning. The neutralisation of slang appears to be inevitable in some cases.

COMMUNICATIVE AND SPEECH DEVELOPMENT OF OLDER PRESCHOOLERS BY MEANS OF CARTOON: TECHNOLOGICAL APPROACH

The article deals with an important issue of modern preschool education – communicative and speech development of older preschoolers. This age is important in shaping personality as a whole and preparing a child for school. Substantial changes occur in the ontogeny of communication of an older preschooler – other motives and forms of communication, complex speech constructions for communication, interest in the social environment, the world of human problems, the formation of emotional intelligence, etc. The author clarifies the essence of the concept “communicative and speech development of older preschoolers”.Cartoons have been identified as an important means of communication for older preschoolers; the psychological and pedagogical potential of the cartoons (didactic, educational, developmental, psychotherapeutic, cultural and historical, multicultural, etc.) has been revealed; their conditional classification (didactic, cognitive, interactive, educational social-communicative, entertaining, informative, problematic, etc.) has been presented.The author considers interpersonal communication in the form of models of communicative-speech interaction, offers to use modeling in the cognition of preschoolers of different communication situations in the system “a person – a person”, namely: a child-an adult; an adult –children; a child-a child; peer children and toddlers. At the same time, the author shows the fullness of modern cartoons with the social and communicative content by various models of communication and speech interaction, which should be introduced to older preschoolers.The technological principles of the use of cartoons in communicative and speech development of older preschoolers are described. The author presents the conceptual foundations of the program “Cartoon_Com_Mod” and didactic means of its implementation in the practice of the institution of preschool education: pedagogical conditions (enrichment of the content of the educational process by cartoons; an integrated approach to the organization of perception of models; maximum creative and play character of work; parental education on communicative and speech development) forms, methods and techniques. Integrated lessons or integrated days were passed in stages – propaedeutical, revisionary and reflexive (according to N. Havrysh, K. Krutii), each of which had a specific purpose and appropriate didactic means of achieving it.

Влияние современных мультфильмов на сознание детей

Влияние современных мультфильмов на сознание детей

Chinese Modern Cartoon. A transcultural approach to Modern Sketch

Since the second half of the XIX century, Chinese print media have been involved in intercultural exchanges that permanently modified the editorial production in Shanghai, the Chinese capital of modern press. The evolution of the visual language of cartoon (single-panelled, mainly satirical vignette) has to be located in this context, i.e. in a liminal space characterized by the contact and the intermingling of semiotic systems as well as genres and interests. On one hand, the cartoon format is by itself a hybrid genre, born as a complex iconic-verbal construction. On the other hand, Chinese modern cartoon, which emerged and developed at the turn of the XX century along with the evolution of journalism and entertainment in semi-colonial Treaty Ports, reflects and participates into the process of bridging cultural boundaries through adaptive and integrative communication strategies (metissage). The present essay will firstly examine the asymmetrical cultural exchanges between European-American (Punch-and-Puck format) and Chinese culture, and inside the Sino-Japanese 'interliterary community' of the late XIX century. Besides synthetizing the state of the art, the paper will also elaborate on the possibility of a Punch/Puck legacy in 1920s-1930s China. Secondly, through the analysis of selected exempla from the cartoon magazine Modern Sketch (Shidai Manhua, 1934-1937), I will present significant aspects of the transcultural processes occurred in China during the golden years of cartooning.

A view on the development of Chinese modern cartoons and animations

A view on the development of Chinese modern cartoons and animations

Герои современных мультфильмов в играх и игрушках дошкольников

The paper presents a comparative research on how preschool children play with various modern cartoon character toys. Three popular animated series were used in the research: "Winx", "Spider-Man" and "Pettson and Findus". One series of each was previously analysed in terms of micro-plots, descriptions of the main char¬acters and their actions etc. The children watched the series, one at a time, and were then invited to play with its character toys. The outcomes of the research indicate that the series with plots and characters appropriate for preschool age (such as "Pettson and Findus") promote longer and richer periods of play activity as compared to the series addressed to children of older age. Children tend to take the role of the main character more frequently if s/he is of about the same age (irrespective of sex); they reproduce familiar and clear plots and engage themselves in longer periods of meaningful play. The outcomes also show that the effect of the animat¬ed series on the children's play depends on the quality and content of the animations, on their correspondence with the specifics of preschool age as well as on the quality of the character toys.

1910년대 만화의 전개와 내용적 특질: 『매일신보』 게재 만화를 중심으로

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented `Choseon-ness` through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.

ВПЛИВ АНІМАЦІЙНИХ ФІЛЬМІВ НА РІВЕНЬ ТРИВОЖНОСТІ ДІТЕЙ МОЛОДШОГО ШКІЛЬНОГО ВІКУ

The paper deals with an impact of modern animated films originating from various countries on the level of junior schoolchildren’s anxiety. The structure of the modern cartoon films and the mechanism of their impact on mental and emotional processes of junior schoolchildren are analyzed.

The Adventures of a Cartoon Strip Character with a Quiff and a Dog: Tintin's Journeys as an Original Form of Travel Writing

Georges Rémi (better known as Hergé, a pseudonym made up of his two initials: R G) died in 1983, having made a name as the father of the modern cartoon strip in Western Europe, notably thanks to 23 books narrating the adventures of a betufted boy reporter called Tintin. Tintinology (literally and unambiguously: the study of Tintin) started to develop in the mid-1980s as a small-scale, possibly amusing, area of scholarship – yet one where an increasing number of academics have analysed Tintin and his stories in the light of the most serious intellectual theories, from psychoanalysis (David 1994; Peeters 1984; Tisseron 1985, 1990, 1993) to semiology (Floch 2002) via cultural studies (Masson 1989; Baetens 1990; Bonfand and Marion 1996 ; Tomasi and Deligne 1998). The critical literature on Tintin is expanding alongside the literature on Hergé himself (Tisseron 1987; Smolderen and Sterckx 1988; Ajame 1991; Assouline 1996; Serres 2000; Peeters 2002; Sadoul 2003). This article contributes to this body of Tintin meta-literature by focusing on the way Tintin travelled around the world, from China (The Blue Lotus) to Peru (Prisoners of the Sun) and from Egypt (Cigars of the Pharaoh) to the Arctic Ocean (The Shooting Star).