Comic Superheroes!

I’m fascinated by graphics, especially those that emerged in the 1930s and 1940s, so this story in the Times Higher Education caught my attention:

If you could have one superpower, what would it be? This is a popular question in team-building exercises. Flight? Invisibility? Super strength? Would you want to be able to hurl balls of fire, communicate telepathically or run faster than a speeding bullet? Sometimes we imagine possessing the powers of other animals: flying like a bird, leaping like a tiger or swimming like a fish. Other times we imagine having supernatural powers, such as telekinesis or an ability to shape-shift, that as far as we know nothing has nor could possess. We might just imagine having more of what we’ve already got: strength, speed or heightened senses.

I can declare a degree of knowledge in such matters, having read superhero comic books from my early years. There were no books in the house when I was little, but a few pence bought the adventures of the Hulk, the Fantastic Four and, my favourite, Spider-Man. Initially my older sister read them to me, putting on different voices for each character. But they provided the perfect incentive for me to learn to read for myself.

The myth of the superhero and their supervillain counterparts appears firmly enshrined in popular culture, but the superpowered beings that are recognisable the world over today are relatively new. Superman dates back only to 1938, with merely a few prototypes preceding him. Yet the superhero may be merely the modern manifestation of a more persistent archetype.

Read full story.

Careless Talk Costs Lives (asbojesus)

Slogans are enduring, hey?From @asbojesus blog.

Rude Britannia

Rude Britannia: A History Most Satirical, Bawdy, Lewd and Offensive

“Series exploring British traditions of satire and bawdy and lewd humour begins in the early 18th century and finds in Georgian Britain a nation openly, gloriously and often shockingly rude.

It includes a look at the graphic art of Hogarth, Gillray, Rowlandson and George Cruikshank and the rude theatrical world of John Gay and Henry Fielding. Singer Lucie Skeaping helps show the Georgian taste for lewd and bawdy ballads, and there is a dip into the literary tradition of rude words via the poetry of Alexander Pope, Jonathan Swift and Lord Byron, and Laurence Sterne’s novel Tristram Shandy.”

“Europeans have always thought the British a peculiarly cussed and impolite people, and from the eighteenth century onwards the British have enjoyed a unique liberty to earn that reputation. In the eighteenth century even the greatest were satirised with venom – royal family included.

Prosecutions for libel were few, and the ideals of ‘English liberty’ were thought to distinguish Britain from more absolutist and censoring countries, so most satirists got away with it. Although this great tradition was weakened in the ‘respectable’ nineteenth century, the tradition bequeathed by satirists like the writer Jonathan Swift or caricaturists like James Gillray, Thomas Rowlandson, and the young George Cruikshank has lasted into our own day.

Professor Vic Gatrell – Historian and Author of ‘City of Laughter: Sex and Satire in Eighteenth Century London’.”

The power of visual culture! See the BBC’s Rude Britannia Website (where you can catch up on the first programme, and get ready for the next).

"Cartoons and the historian" by Roy Douglas

Many historical books contain cartoons, but in most cases these are little more than a relief from the text, and do not make any point of substance which is not made elsewhere. Political cartoons should be regarded as much more than that. They are an important historical source which often casts vivid light on events, and which is useful both to the teacher and to the researcher. The essential of a political cartoon is that it is not meant to portray an actual event, but is designed to bring out points which are not adequately made by textual descriptions – or which can be understood by illiterate people, or by people in a hurry.

The medium of cartoons is a very old one. A famous palette from the dawn of pharaonic Egypt shows King Narmer (Menes) striking what appears to be a defeated enemy in front of a falcon, symbol of the god Horus.(1 ) It is unlikely that Narmer personally dispatched all his enemies, and even more unlikely that he contrived to have a falcon present to watch events. It is much more likely that this was a true cartoon, making an important point of propaganda. Pharaoh has divine backing. For that reason, he has been, and will continue to be, successful against his enemies at home or abroad. It is therefore advisable to support him in all his doings.

Read full article at the Political Cartoon Society.

Bruce Bairnsfather (b.1888; d.1959)

The Old Bill NewsletterBorn in India, Bruce Bairnsfather was educated at the United Services College. He served in the Warwickshire Militia from 1911 to 1914, went to work for an electrical engineering firm, then joined the Royal Warwickshire Regiment at the outbreak of war. Severely wounded as Ypres, he was attached to the Intelligence Department as an officer-cartoonist.

Old Bill was Bairnsfather’s most famous cartoon character, with his walrus moustache and cockney origins, he captured the public imagination. It wasn’t until the 1939-45 war that Old Bill was used in government posters, a belated use of his folk hero appeal. During the 1939-45 war Bairnsfather served as an official war cartoonist attached to the US army in the European theatre of war from 1942 to 1944.

Information taken from: Darracott, J. and Loftus, B., Second World War Posters, 1981, p.18

Related Texts: Bairnsfather, B., Wide Canvas, 1939; “The Collected Drawings of Bruce Bairnsfather”, USA 1931

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