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Need a music genre map? I did to connect music photographers to music genres. A good place to start is right here. Click the link, use the zoom buttons to see the magic appear, then navigate its web of connections.

JF - 1st Year BA Hons Photography.

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Musicmap | The Genealogy and History of Popular Music Genres

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Musicmap provides the ultimate genealogy of all popular music genres and combines any information regarding music genres, such as their relations, sociology, history and music examples, in one dynamic map, serving as both an educational tool and a framework for music databases.

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Types of Visual metaphors used in advertising

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Types of Visual metaphors used in advertising

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thought this was useful :)

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It's estimated that the human brai n processes visuals 60,000 times faster than text . Moreover, when text is paired with images, comprehension goes up to 89% .

Sounds fascinating, doesn't it?

I think we can all agree that visual communication can boost your online advertising.

Sometimes, in order to create a stronger reaction, advertisers go one step further and pair multiple visual elements to create a metaphor image.

Therefore, if you want to stand out in your industry and leave a lasting impression on your target audience, you need to do more than come up with a basic visual ad.

A visual metaphor can help you succeed when you want to convey a simple yet powerful message in a creative manner.

What Is a Visual Metaphor?

A visual metaphor is a creative representation of a concept, person, place, thing, or idea through an image that uses analogy or association.

Another visual metaphor definition can go something like this: when the familiar is turned into something extraordinary and engaging.

We all have various belief systems and perceive the world in a certain way.

Because of this, we can make sense of visual metaphors.

With the help of metaphor images, you can create new imagery that will crack open your audience's reality and make sense into the familiar.

Now that you know what a visual metaphor is, here are a few practical tips on how you can create an ad that stands out.

How to Create a Visual Metaphor

Here's the process you need to follow when creating a metaphor image:

1. First, think about the main message that you want to transmit through the visual and write down the most important words. Let's say you want to represent a person who is always with their head in the clouds .

2. Brainstorm potential familiar elements you can use to illustrate the message, but be careful not to leave your audience completely puzzled. For this example, the familiar elements are represented by a person and clouds.

3. Draw a few sketches by combining those elements to see how they can fit to deliver your message. For this step, you can replace the person's head with the clouds.

4. To avoid future confusion, and achieve the desired outcome, consult with your team to see which visual would be the best choice.

Now, let's take a look at some of the most inspiring creative ads that are based on visual metaphors techniques.

15 Creative Ads to Get Inspired By

1. Visual metaphors

Visual metaphors use common elements and objects, which are combined in an unexpected way to send a powerful message.

This ad for Smart shows us what's the best option to navigate through a busy city when it comes to cars.

How to demonstrate this better than with a metaphor?

The difficulty of threading a needle was compared to driving a big car through a crowded city. A Smart car, however, will manage to easily enter through the narrowest streets.
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2. Double meanings

Of course, almost all metaphors have a palpable object with a symbolic meaning behind, but some of them can illustrate two ideas in one visual.

This collection of print ads for Diniz, the largest eyewear chain store in Brazil, is using tropical fruits to show the freshness of a cold fruit in the summer.

They are using the fruits to also cast shadows in the form of different models and styles of eyewear.

To create a stronger connection between the visual and the copy, each ad has a different message that is in perfect tune with each fruit.

Visual analogies combine objects that are usually not seen together, but they are used in a way that makes perfect sense.

The following outdoor ad for BusConnects falls into the category of advertisements that use analogies.

The visuals for this campaign convey Dublin as a Rubik Cube that can only be solved thanks to the collaboration between the public and BusConnects.
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4. Visual similes

This technique represents an object by making it look like it's something else. It's commonly found in visual advertisements, like the one below, which is a classic.

show that nuts are good for your brain, which is one of the reasons why this representation is so effective.

It might not be an innovative idea, but the ad also uses creative copy to send a powerful message, which is supposed to appeal to logic and raise awareness.
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5. Visual effects

They might be the oldest trick in the advertising industry, but a creative mind can always keep them crisp.

In this 2020 Audi calendar, we can see dynamic visual effects using vivid colors and scenery inspired by comics-movies.

In each visual, the car is presented as a different superhero.
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Another excellent example of visual effects used in an ad comes from DIRECTV.

The ad conveys how fast and easy everyone can enjoy entertainment in their home, just by opening the DIRECTV box.
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6. Visual fusion

Another advertising technique is the one where you create a fusion between two different-even opposing-elements to send a straightforward message.

Sometimes the element, person, or place can be merged with the logo of the brand.
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This can be extremely effective if the company's logo is well-known so that consumers can make the connection between the ad and the brand itself.

In the following ad examples, the McDonald's logo substitutes the eyes of the nocturnal animals, landing the idea that the restaurant is open 24/7.
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Another set of visual metaphor examples using this technique are these print ads created for the United Nations that encourage people to practice social distancing during the COVID-19 pandemic.

The associations between common objects that don't play well with one another suggest the negative outcome and help people understand the importance of keeping the distance:

7. Visual minimalism

There are times when even the most simple or abstract elements can be turned into visionary images.

Resorting to visual minimalism advertising, McDonald's France used their emblematic french fries to show directions to the nearest location.

This campaign resulted in captivating visual metaphor ads. See all of them .
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8. Visual puns

The use of visual metaphors in advertising can also appeal to audiences' interests by being playful.

Puns are perfect when you want to create a visual ad that's memorable. After all, who doesn't remember a good old pun?

Using the idea of color swatches, this ad is saying that the toaster lets you control how toasted you want your toast to be.
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You don't have to choose only between barely crisp and burnt.
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9. Visual typography

The use of typography is yet another creative way of designing beautiful metaphor ads.

Letters can complete the image of an object, similar to this ad for Internet.org, a campaign showing initiative to bring internet in areas where people don't have access to it:

Here's another example in a print ad for KentFM, where letters were used to create a sound wave:
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10. Unconventional metaphors

We've seen visual puns and can't argue that they're not engaging. On the opposite side are the visual metaphors banking on more odd things.

A good example is using a visual that looks like a horror movie poster when it's actually not.

This poster for the National Health Service, for example, definitely makes people look twice.

The message truly gets to you because of the font that was used and the fact that it's also combined with an image that looks straight out of a horror movie:
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11. Amplifying the negative

This technique can help you create visuals that entice people to take action, offering the audience a glimpse into the reality, the problem, and how they can be part of the solution.

This is an ad created for the NGO Entourag e app that fights against the social exclusion of homeless people in France.

Those that care about this complex social problem can get involved and help with simple but meaningful things.

This way, the ones in need won't fall in the pit of loneliness and despair, like the visual suggests.
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12. Illustrating dilemmas

Wake-up-call ads usually fall into this category, dramatizing the visual to make people change negative behaviors.

This ad campaign uses the common plastic pill case to suggest that opioid addiction can have fatal effects. The visual ad implies the human cost of this damaging behavior, making it even more realistic and alarming.
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13. Drawing consequences

One of the best techniques to depict the consequences of a specific action is to use a compelling image and a simple message that are connected to one another.

This print ad created for Detran, the Traffic Department in Brazil, has the purpose of raising awareness about the fact that a cigarette thrown on the road can start a fire.
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14. Visual hyperboles

An effective way for marketers and designers to convey the importance of a product in an ad is by using hyperboles.

Visual exaggerations are ideal for letting people know how your product can benefit them.

In this ad for sunscreen, the company depicted the idea that their sunscreen can not only protect people from the sun, but it's water-resistant as well so it's perfect to use when you go to the beach:

15. Metaphor stories

Sometimes a metaphor can be taken into the realms of stories.
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This campaign started with the idea of chess, which was invented in India, and used it to create a compelling campaign.

More precisely, the symbol of the queen in the game, which is the most powerful piece, is portrayed as powerless.

The powerless queen is compared to the majority of Indian women who can't even get access to fundamental rights, such as education.

This metaphor story was turned into a mobile chess game, and players are given a powerless queen. Thus they can't win.

The campaign was meant to raise awareness about the fact that women cannot win if they are not empowered.

It also aimed to encourage people to donate to the cause and help these women get access to education.

Final Thoughts
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Visual metaphors are artistic representations that can help you design something different and make your brand's online advertising stand out at the same time.

One thing is clear.

They are a perfect choice if you want to engage your audience and make your message stick even after your campaign is over.

When using visual metaphors in your ads, leave the cliches behind. Sure, keep thinking outside the box, but go even further.

I hope that these creative ads will inspire and determine you to dare more.
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The Best Examples of Creative Ads Using Visual Metaphors

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It's estimated that the human brai n processes visuals 60,000 times faster than text . Moreover, when text is paired with images, comprehension goes up to 89% . Sounds fascinating, doesn't it? I think we can all agree that visual communication can boost your online advertising.

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https://wordpress.com/home/sophiarumisblog.wordpress.com

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“The Sculptor’s Welsh Rarebit Dream" (1908)

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“The Sculptor’s Welsh Rarebit Dream" (1908)

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First Claymation Animation

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First Claymation on film - Sculptors Nightmare

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Patrick O'Malley's Creative Research Padlet

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Patrick O'Malley's Creative Research Padlet

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Thought this could be a fun thing to do whilst in lockdown!

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Lecture notes and task.

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Junji Ito , born July 31st 1963, is a Japanese horror manga artist. He is heavily influenced by the work Kasuo Uzemo , of whom is also a horror manga artist. He only drew manga as a hobby as his years as a dental technician in the 1990's.

He entered a submission to 'Gekkan Halloween' which was granted an honourable mention, with Kasuo Umezu being one of the judges himself . This submission went on to become 'Tomie' one of his most notable works. In addition to being influenced by Kasuo Uzemu . Ito has cited that Hideshi Hino, Shinichi Koga, Yasutaka Tsutsui and even H.P Lovecraft are major inspirations for the artist.

Common themes in Ito's work include body horror, ordinary characters acting out of irrational compulsion, breakdown of society, organisms and the inevitability of death.

Film director Guillermo Del Toro posted on his official twitter account that Ito was originally a collaborator for the video game, Silent Hill PT. However a year after it was cancelled by Konami (the IP owner). Ito and Del Toro lended a hand to Kojina's next project, 'Death Stranding'.

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Junji Ito , born July 31st 1963, is a Japanese horror manga artist. He is heavily influenced by the work Kasuo Uzemo , of whom is also a horror manga artist. He only drew manga as a hobby as his years as a dental technician in the 1990's.

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Global Air Quality Checker

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PHILIPS

Users can connect their Philips Connected Purifier or Connected Purifier-and-Humidifier Combi to the Air Matters app, to check the indoor air quality index, control the device mode and fan speed from the App and to receive notifications when the air quality is getting worse or when they need to replace the filters. The Air Matters app works with the following Philips Air devices: AC1214, AC2889, AC3259, AC3829, AC4375, AC5659, AC5660.

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Air Matters - A Global Air Quality Service Provider.

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Users can connect their Philips Connected Purifier or Connected Purifier-and-Humidifier Combi to the Air Matters app, to check the indoor air quality index, control the device mode and fan speed from the App and to receive notifications when the air quality is getting worse or when they need to replace the filters.

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Information on the different between compostable and recycable items

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How long does it take your compostable products to break down?

This is a great question with a complex answer! How long it takes something to break down depends on what kind of material it is (e.g., a piece of paper breaks down much more quickly than a corn cob), what kind of composting technology is used (e.g., a backyard pile overseen by a gardener is very different than a commercial facility with millions of dollars in equipment to manage moisture and temperature), and what climate you're in (e.g., the dry Arizona desert is very different than the humid Pacific Northwest). Most of the compostable products Novolex makes are designed to be composted in commercial facilities, where temperature, moisture, oxygen, and other factors can be carefully monitored. The Biodegradable Products Institute certifies many of our products, and the testing upon which that certification is based allows up to 180 days for biodegradation to occur. However, given the number of variables involved, in reality there is a wide range of time in which compostable products to break down. Some composters have successfully composted packaging in as little as 45 - 60 days. For more information on the composting process, check out this video by Eco-Products: https://www.youtube.com/watch?v=s_27lJ3NQO4&t=3s

Can I put your compostable products into my backyard compost?
We recommend disposing of Ingeo products in a commercial compost facility where they can be broken down, turned into compost and then returned to the soil. Home composting typically does not create the consistent composting conditions needed for our products, but commercial facilities can manage just fine.

Commercial compost facilities are expanding around the country and there may be one in your area. To find a compost facility near you, please visit the US EPA website or check out Find A Composter

Do compostable products breakdown in landfills?
Compostable items are designed to be composted in a compost heap only. Composting is a very specific process which does not occur in landfills. Microorganisms, carbon, water, oxygen and nitrogen are all essential parts of the compost process and these factors need to be present in the right circumstances (such as in a compost pile) for composting to occur.

If compostable products are placed in an open landfill or dump where oxygen is available, they will decompose at a rate similar to other biodegradable materials in the same setting. If compostable products are placed in the more common anaerobic (air-locked or capped) landfill and deprived of oxygen and micro-organisms, then the ability of the compostable products to decompose will be severely restricted. This is true of all biodegradable materials placed in this setting, including paper, yard waste and food waste.

As a consumer, you should be skeptical of any manufacturer making claims that their products will biodegrade quickly in an air-locked landfill. Eco-Products clearly labels and certifies all our compostable products to help consumers and composters alike.

Do compostable products make methane if they go into landfills?
In a capped landfill (the most common type of landfill in the US), our products and most plastics will remain stable and not be a significant contributor to methane emissions as far as we know. Most compostable bioplastics break down in aerobic composting scenarios best, and composting is not a significant source of methane. Composting is a specific aerobic (oxygen rich) process which occurs in compost piles only, not inside sealed anaerobic (oxygen deprived) landfills. Other bioplastics have shown different results in landfills, and some bioplastics are being engineered to behave differently in landfills. Eco-Products uses Ingeo plastic exclusively in our compostable products, and it is tested and clearly marked for commercial compost only.

Methane in landfills results from organic materials that end up in anaerobic (air-locked or capped) landfills and are deprived of oxygen and micro-organisms. Over long periods of time, organic material slowly degrades anaerobically resulting in the creation of methane gas. Methane gas is more harmful to the atmosphere than CO2 over its lifetime. Landfills are the second largest source of man-made methane emissions in the US, and much of this is attributed to the long legacy of organic matter anaerobically decomposing in the landfill and making methane gas. This is why it is more important than ever to keep as much organic matter like food scraps, yard waste, and agricultural waste out of the landfill. Plastics are generally stable in the landfill, and things like foam will stick around for a very long time - we are not sure when they will ever really break down.

Learn more directly from our Ingeo manufacturer NatureWorks http://www.natureworksllc.com/The-Ingeo-Journey/End-of-Life-Options

Do your compostable products breakdown in a digester or accelerated composter?
It depends. Ingeo items do not breakdown well in most digesters. We recommend that you check with your digester manufacturer directly to see if foodservice items will affect the performance of the device. Technology is always changing, so we hope that more digesters can work with Ingeo in the near future and we like to hear about models that do work with Ingeo or other bioplastics. For now, we recommend that Ingeo go into a land-based commercial compost facility only.

Compostable sugarcane and paper items may work better in digesters, but again, we strongly encourage you to check with the manufacturer first. Remember, that the majority of hot cups, soup cups, and paper food containers are lined with a plastic or bioplastic lining. Even if the paper works in your digester, the plastic lining may pose an issue.

Do compostable products breakdown better if they are shredded or chopped into smaller pieces?
Not necessarily. Clear Ingeo foodservices items will break down at about the same rate regardless of size (extremely large or dense items may take even more time). The composting process primarily depends on heat, moisture, and time, and even small pieces of Ingeo require the same conditions to start composting. Paper items may break down faster in smaller pieces, but commercial composters know their systems well and often will chop material into the ideal size for their needs.

Are your compostable products marine degradable?
No, our products are not certified as marine degradable and we strongly encourage everyone to keep all plastics out of oceans and waterways.

Land-based commercial compost facilities have the ability to maintain ideal composting conditions and sustained heat and moisture needed for Ingeo to break down entirely with the appropriate soil bacteria, yeast, and fungi. The ocean is salty and filled with life that is affected when plastics enter the water. The compost process does not occur there. Additionally, there is more and more research all the time showing the harmful effects of plastics in the ocean, including the impacts on birds that often mistake plastics for fish and eat them.

Please help keep our oceans and waterways free of litter and plastic and dispose of any waste responsibly.

How do you certify your compostable products?
Our compostable items meet the ASTM standards for compostability. They are certified to meet these standards by the Biodegradable Products Institute (BPI) which uses scientifically based standards to determine if a product is compostable in a commercial facility. Products cannot contain the BPI logo unless they have been officially certified. So look for the words "BPI Certified" and you can be confident that your product will break down in a commercial facility.

If I can't compost, what should I do?
For disposal, naturally we recommend composting if it's available, but if not, please dispose of all foodservice items responsibly. Even if these items head to the landfill, this is preferred to leaving items to escape as litter into the environment. There is still an important environmental benefit to choosing Eco-Products items over traditional foam or plastic items that contain no recycled content or renewable materials.

Some of your products are compostable. Is that the same as biodegradable?
Biodegradable and compostable can be confusing terms. Technically, both words define biological processes, but they have become prevalent marketing terms as well. This tends to blur the difference between the two, which is understandably confusing!

Biodegradation is a larger natural process that can happen in a number of ways, including composting. Composting is very specific process that happens only in situations with the right microorganisms and environmental conditions - and it creates humus, water, and heat. Other biodegradation processes do not make humus, which is an important part of soils.

Other things "biodegrade" in different ways, such as in water, with sunlight, heat, or even chemicals, but compostable products breakdown (or biodegrade) into compost through the composting process only.

Our products are certified compostable by a third-party organization called BPI and they meet the strict ASTM composting standards for each material type. That's why our products are labeled "compostable" and not "biodegradable". In the US, the Federal Trade Commission publishes a "Green Guide" that outlines the rules for environmental marketing claims. It is our go-to guide to avoid greenwashing and the reason we do not label our items as 'biodegradable". Unfortunately the term 'biodegradable' has no strict legal definition, so look for the words "BPI Certified" to ensure your compostable item meets the best standards for compostability.

Learn More FTC Green Guide

Are your products recyclable?
In short, probably not. Here's why: We have 2 lines of products; our GreenStripe® items that are made with renewable resources and our BlueStripe™ items that are made with recycled content materials. Not all of these materials can be recycled most places in the US.

Most of our GreenStripe® items are compostable. So when you are done with these renewable GreenStripe® items, like Ingeo bioplastic products, they can be disposed of in a commercial compost facility instead of the landfill. Here they are returned to the soil as compost.

Our BlueStripe™ items are made from post-consumer recycled PET plastic, polystyrene or fiber, so we are excited to give a second (or third) life to these materials. Unfortunately, it can be hard for some recycling facilities to capture these items - instead, their environmental benefit lies in their front end materials. For these items, please dispose of them responsibly and only recycle them if they are accepted.

Coming soon! There are some regions where #1 PET recycling has expanded and you can put our BlueStripe™ PET items in the recycling bin. It's not everywhere yet, but hopefully one day soon. We encourage you to check with your local municipality or materials recovered facility (MRF for short) to see if they are accepted and if not, to learn when they will be.

Note: It can be tricky to tell the difference between a clear Ingeo corn cup and a nearly identical cup made from petroleum-derived plastic like PET or even recycled PET. Check out the resin identification number on the bottom of the cup - Ingeo cups are labeled with #7 and PET cups are #1.

Recycling facilities can have problems with Ingeo items, so it is important to separate compostables from recyclables into "clean" waste streams. Because Ingeo and PET mix about as well as oil and water, recyclers consider Ingeo a contaminant and compost facilities have a hard time cleaning PET out of the compost.

Learn more directly from our Ingeo manufacturer NatureWorks http://www.natureworksllc.com/The-Ingeo-Journey/End-of-Life-Options

Are your hot cups and soup cups recyclable?
Today, very few communities recycle paper hot cups of any type. This is because separating the cups' film lining from the paper can be difficult and because food contamination can decrease the value of the material.

Hot cups in our GreenStripe® line (i.e., GreenStripe, WorldArt, Slate, This Is Why) are made with renewable resources. These cups are made with paper from trees harvested in North America; they are lined with Ingeo™ biobased plastic, made from corn grown in the U.S. They are certified to be commercially composted after use. If you are not lucky enough to have a commercial composter in your area, these cups should be sent to the landfill.

Hot cups in our BlueStripe™ line (i.e., BlueStripe, Evolution World) are made with post-consumer paper fiber and a polyethylene lining. To our knowledge, our 24% post-consumer fiber is the highest percentage of post-consumer material in this type of cup! These cups are not compostable, and because of the challenges mentioned above with recycling paper hot cups, they are not recyclable in most communities either. Eco-Products is participating in industry initiatives aiming to increase the recyclability of hot cups and other foodservice packaging. We hope that one day soon, diverting these products from the landfill will be the norm and not the exception.

Which material is better for the environment - Ingeo™ or recycled PET plastic?
The answer is: it depends!

Here at Eco-Products, we look at our products from a life cycle perspective. Our cups have a beginning, middle and end of life. For our cold cups, some of them have great beginning of life attributes, while the others offer great end of life benefits. However, a key piece of the environmental success of our products depends on you.

Simply choosing Eco-Products over conventional products helps drive markets, keep good companies like us in business and show the industry where consumers are motivated. If that is all you can do right now, that is a great start! Some of you can do more by composting or even recycling (where accepted) some of our products. The best environmental solution is the one that works with you.

See our GreenStripe® and BlueStripe™ page to learn more about each product's attributes and what fits into your life right now http://www.ecoproducts.com/greenstripe_vs_bluestripe.html

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How long does it take your compostable products to break down? This is a great question with a complex answer!

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Danii Mansfield. - Advertising

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The meaning of the word Rhetoric is the art of effective or persuasive speaking or writing, especially the exploitation of figures of speech and other compositional techniques.

There are 3 three catagories of persuasive advertising to bear in mind.

Logos (Logic and reason), Pathos (Emotions and feelings), Ethos (Credibility and Ethics). Each category invokes a different appeal between speaker and audience.

Ethos is about credibility. Usually you'll find that brands use celebrities to advertise their product, because as a society, we naturally believe that if it's good enough for a famous person, then it must be worthy of our money. Ethos Rhetoric is also invoked to tie a brand to fundamental rights. Brands will build trust with their audience when they stand for an important cause, or at least appear to do so.

The Pathos technique is used to convince the audience through emotions. It appeals to the senses, memory, nostalgia, or shared experience. Pathos examples pull on your heartstrings and make an audience feel.

Some examples may include: A cute puppy, a love story, an inspirational song, a devastated family, overcoming great odds etc.

We all know that emotions create responses, and in our increasingly consumer-driven culture, the response is to buy something.

Logos is used to convince an audience using logic and reason. Examples of adverts using the Logos technique will include facts, graphs, charts, and statistics.When people see 'proof' it gives then reason or 'need' to purchase it. These adverts are usually trusted with no real research.

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The meaning of the word Rhetoric is the art of effective or persuasive speaking or writing, especially the exploitation of figures of speech and other compositional techniques. There are 3 three catagories of persuasive advertising to bear in mind. Logos (Logic and reason), Pathos (Emotions and feelings), Ethos (Credibility and Ethics).

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Looking and finding

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Looking and finding

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Looking and finding

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Swag rock posters of the 90s

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The History Of Female Cartoonists in Britain

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The History Of Female Cartoonists In Britain

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Timeline of the history of illustration

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Link to my blog where you can find all my research

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Carrying on with research into the 19th illustration I began looking at the work of William Morris. William Morris was an English designer and poet. He is known for his decorative arts particularly within furniture, wallpaper and fabrics. His work sparked the Arts and Craft movement in England.

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Carrying on with research into the 19th illustration I began looking at the work of William Morris. William Morris was an English designer and poet. He is known for his decorative arts particularly within furniture, wallpaper and fabrics. His work sparked the Arts and Craft movement in England.

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Comics research

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Comics is a type of medium used to express a series of images through speech, text and other visual information. They can be published in different ways such as in a magazine, a comic strip, comic book or a graphic novel.

The main characteristics of comics include images mainly cartoons. Speech bubbles are mainly used within this to give speech to various characters. Words can also show sound effects. Captions to explain what is happening or a pass through time are also represented.

A genre is the style, category or any form of communication shown in any form. The most common used in comics is action, thriller, fantasy, teen fiction and children's. Most comics have been adapted in other forms such as TV,

Penny Dreadfuls - Cheap popular literature type of comic produced in the 19th century in the UK.

Splash page - Used to start off a comic story which is a full page illustration.

Underground comix - Self published or small press comic books that are socially relevant in nature.

Indie comics - A type of alternative comic that covers a range of American comics that have appeared since the 1980's.

Manga - Type of comic and graphic novel that was created in Japan in the 19th century. Also used to refer to Japanese style cartoons.

Bande Dessinée - Comics that originally use the French language and created for reading in France and Belgium.

Graphic novel - A type of book that tells a story made up of comic content. It can be used for fiction or non fiction.

Graphic memoirs - A type of book that is written in a similar way as a graphic novel.

Graphic journalism - A form of journalism that covers news and non fiction events in the form of comics.

Comic examples

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Comics is a type of medium used to express a series of images through speech, text and other visual information. They can be published in different ways such as in a magazine, a comic strip, comic book or a graphic novel. The main characteristics of comics include images mainly cartoons.

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Timeline of logos showing different UK mobile networks

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History and Evolution of Mobile networks in the UK 1982 (First mobile network used in the UK, one of the 4 main networks) ...

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Timeline of the design of logos

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History of logo design timeline Evolution of popular companies logos that have changed 1890s early logos 1900s-1910...

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history of beer

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kieran, first year Graphics FdA student has created this blog to record my research

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Explore thousands of interactive timelines and discover a new way to visualise Wikipedia

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Illustrated online article about Victorian 'Penny Dreadfuls' by Judith Flanders for the British Library

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The penny dreadful was a 19th-century publishing phenomenon. Judith Flanders explains what made these cheap, sensational, highly illustrated stories so popular with the Victorian public.

In the 1830s, increasing literacy and improving technology saw a boom in cheap fiction for the working classes. 'Penny bloods' was the original name for the booklets that, in the 1860s, were renamed penny dreadfuls and told stories of adventure, initially of pirates and highwaymen, later concentrating on crime and detection. Issued weekly, each 'number', or episode, was eight (occasionally 16) pages, with a black-and-white illustration on the top half of the front page. Double columns of text filled the rest, breaking off at the bottom of the final page, even if it was the middle of a sentence.

The success of highwaymen and gothic tales

The bloods were astonishingly successful, creating a vast new readership. Between 1830 and 1850 there were up to 100 publishers of penny-fiction, as well as the many magazines which now wholeheartedly embraced the genre. At first the bloods copied popular cheap fiction's love of late 18th-century gothic tales, the more sensational the better, 'a world,' said one writer, 'of dormant peerages, of murderous baronets, and ladies of title addicted to the study of toxicology [the study of poison], of gipsies and brigand-chiefs, men with masks and women with daggers, of stolen children, withered hags, heartless gamesters, nefarious roués, foreign princesses'.

Penny dreadful, The Flying Dutchman

Early penny dreadful The Flying Dutchman, or, The Demon Ship is distinctly influenced by 18th century Gothic, 1839.

Penny dreadful, Ela the Outcast

Ela the Outcast; or, The Gipsy of Rosemary Dell. A romance of thrilling interest, a typical example of an early penny dreadful, 1841.

The first ever penny-blood, in 1836, was Lives of the Most Notorious Highwaymen, Footpads, &c., in 60 numbers. Highwaymen remained a favourite. Gentleman Jack was published over four years, without too much worry for historical accuracy or continuity. (One character was, rather carelessly, killed twice.) Dick Turpin was a great favourite. His story, and especially the time he (supposedly) rode the 200 miles from London to York overnight, was retold endlessly. In Black Bess; or, The Knight of the Road, Turpin was not executed until page 2,207.

The illustrations were an essential element, as much an advertising tool as art. One regular reader said, 'You see's an engraving of a man hung up, burning over a fire, and some ... go mad if they couldn't learn what he'd been doing, who he was, and all about him.' It is not surprising, therefore, that one publisher's standing instruction to his illustrators was, 'more blood - much more blood!'

Slums, true crime and detectives

The most successful penny-blood, and what might possibly be the most successful series the world has ever seen, Mysteries of London, first appeared in 1844, written by G W M Reynolds. He based it on a French book, but it soon took on a life of its own, spanning 12 years, 624 numbers and nearly 4.5 million words . Instead of highwaymen, this series was much closer its readers' own lives, contrasting the dreadful world of the slums with the decadent life of the careless rich.

Penny dreadful, The Mysteries of London

The Mysteries of London, the most successful penny dreadful, drew inspiration from the streets of London, 1849.

Later, after highwaymen and then evil aristocrats fell out of fashion, penny-bloods found even more success with stories of true crimes, especially murders. And if there were no good real-life crimes current, then the bloods invented them. The most successful of them was the story of Sweeney Todd. The 'Demon Barber' first appeared in a blood entitled The String of Pearls, which began publication in 1846. Even before it reached its conclusion, it was adapted for the stage, setting the murderous barber, who killed his clients for his neighbour Mrs Lovett to bake into meat-pies, on the road to world fame.

The String of Pearls; or, the Barber of Fleet Street

Mrs Lovett's pie shop from The String of Pearls, the original story of Sweeney Todd, estimated 1850.

Soon, however, it was the pursuers, not the murderers, who took centre-stage. In 1865, a 70-part penny dreadful, The Boy Detective, or, The Crimes of London, appeared, with its hero, Ernest Keen, who runs away from home and works for a police inspector, 'so cleverly that the fly coves called him the BOY DETECTIVE!'

Penny-bloods had originally had a broad readership, but in the 1860s the focus narrowed, and children became the main target. There were dozens of titles - The Wild Boys of London (1864-66), The Poor Boys of London (c.1866), even The Work Girls of London (1865).

The beginning of authors' careers and a new genre

Several authors who later published more respectable popular fiction began their careers in penny-bloods, including the journalist G A Sala, a protégé of Dickens, and Mary Elizabeth Braddon, later the author of the bestselling Lady Audley's Secret, who began as the (pseudonymous) author of The Black Band, or, The Mysteries of Midnight, complete with lady-murderess who organises a European-wide network of criminals.

As Mrs Braddon herself said, 'the amount of crime, treachery, murder and slow poisoning, & general infamy required [by my readers] ... is something terrible'. Yet it was precisely these ingredients that led the way to the 'sensation' novel. Mrs Braddon's Lady Audley's Secret, or Wilkie Collins' The Woman in White picked up on the high melodrama of the penny dreadful scenarios, but instead of highwaymen, or pirates, or gothic dungeons, tucked them all neatly away under a tidy domestic façade that reflected those of its middle-class readers, creating a new genre out of an old form.

Penny dreadful, The Black Band

The lady-murderess from The Black Band, or, The Mysteries of Midnight by Mary Elizabeth Braddon, 1876-77.

Footnotes

[1] George Augustus Sala, The Seven Sons of Mammon: a story, 3 vols. (London: Tinsley Brothers, 1862), ii, p. 22-3.

Judith Flanders is a historian and author who focussed on the Victorian period. Her most recent book The Victorian City: Everyday Life in Dickens' London was published in 2012.

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The penny dreadful was a 19th-century publishing phenomenon. Judith Flanders explains what made these cheap, sensational, highly illustrated stories so popular with the Victorian public. In the 1830s, increasing literacy and improving technology saw a boom in cheap fiction for the working classes.

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First hand account of living in the Islamic State occupation of Racca in Syria

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In five diary entries, a Syrian man describes the horror of everyday life in the IS stronghold of Raqqa.

Ever since 'Islamic State' took control of Raqqa in Syria, little has been known about day-to-day life there. The penalty for speaking to western media is beheading. Few dare to talk.

IS forbids people from leaving Raqqa without permission. They have introduced tough controls on internet cafes, tightened the monitoring of mobile phone networks and banned the sale of televisions.

But over the last year, Mike Thomson of Radio 4's Today programme has made contact with a small, anti-IS group called Al-Sharqiya 24. One of its members agreed to write a series of diaries for the BBC about life in Raqqa. We have changed some details of his story, read by an actor, to protect his identity.

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BBC Radio 4 - Today, Life Inside 'Islamic State'

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In five diary entries, a Syrian man describes the horror of everyday life in the IS stronghold of Raqqa. Ever since 'Islamic State' took control of Raqqa in Syria, little has been known about day-to-day life there. The penalty for speaking to western media is beheading. Few dare to talk.

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Glossary of Basic Terms used about Comics

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We know comics can be confusing, and part of clarifying it is defining the vernacular for new readers. We've done a comics glossary before on video, but for those of you who prefer print, we've got you covered. This is a basic glossary of comics terms. We'll supplement this with more in-depth editions going forward.

Comics: As defined by Scott McCloud in Understanding Comics, comics are "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer." It's important to note that comics are a medium of storytelling, not a genre of story.

Issue: The traditional 20-25 page (though they can be as long as 60 or 70 pages) serialized comic.

Trade (TBP): A collection of 4-6 issues. Trades are the term for series comics, not for standalone stories (which would be graphic novel). There can also be deluxe edition trades that have 2+ regular trades' worth of story in them.

Omnibus: A collected series usually in hardcover. An omnibus is usually the entirety or a significant part of a run, which differentiates it from a trade.

Volume: Another name for a trade. [ edit]

Floppy:A floppy is a generalized term for a short "floppy" comic. It can refer to an issue, but it usually refers to a standalone story comic.

Run: The term run can refer to multiple things in Big 2 comics: the work a particular creative team did on a particular character (the Fraction/Aja Hawkeye run) or a numbering scheme (the Wilson/Alphona 2014-2015 Ms Marvel run). Runs don't have to tie into numbering (creative teams can switch without that-for example, the Stewart/Tarr/Fletcher Batgirl run) but when renumbering occurs, like with Ms Marvel, it's helpful to refer to the years.

Big 2: Marvel Comics and DC Comics.

Big 3: Marvel Comics, DC Comics, and Image Comics.

Indie Comic: A comic that is not published by Marvel Comics, DC Comics, or Image Comics. Some people consider Image Comics indie. [ edit]

Capes & Tights: Any superhero comics. It's not limited to the Big 2.

Graphic Novel: Any fictional standalone (not serialized) story that is of book length.

Graphic Memoir: A standalone story that is also a memoir.

Graphic Journalism: Journalism/news reporting that is done in comic form.

LCS: Local comic book shop.

Pull List: A list of comics you have at your LCS that you pick up on a weekly, biweekly, or monthly basis. The shop pulls the comics for you and keeps them in a box, so you make sure you have all your subscriptions.

Final Order Cutoff (FOC): The amount of time a comic shop has before the release date of a comic to place an order, usually three weeks in advance. Comic shops are liable dollar-wise for the comics they order (no returns!), so it's important to get it right. Whether a series is cancelled often depends on the preorders for first and second issues (yes, the comics industry is broken). The way this applies to the consumer is if there's a comic you really want to support, make sure you get your order into your retailer before the FOC.

Manga: Japanese comics. (Vernieda has created a great manga glossary for you.)

Bande Dessinée: Franco-Belgian comics.

Hourly Comic: A journal comic drawn each hour the artist is awake. Hourly Comic Day is February 1.

Webcomic: A comic you read, usually for free, on the Internet.

Minicomic: A hand drawn, creator-owned comic that is usually self-produced and stapled together.

Creator-Owned: A comic in which the creative team owns the rights to the characters. Marvel and DC Comics are not creator-owned, whereas Image Comics is the largest creator-owned comics publisher.
We've got more specialized glossaries on the way, but if you have terms you'd like defined, let us know in the comments!
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# data[].attributes.attachment_link.description
We know comics can be confusing, and part of clarifying it is defining the vernacular for new readers. We've done a comics glossary before on video, but for those of you who prefer print, we've got you covered. This is a basic glossary of comics terms. We'll supplement this with more in-depth editions going forward.

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Ron Mann's film (available for hire or download)

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Comic Book Confidential is a feature-length documentary that profiles twenty-two of the most significant artists and writers working in comic books, graphic novels and strip-art in North America today.

In an entertaining and informative combination of interviews, historical footage and state-of-the-art animation techniques, Comic Book Confidential provides a positive answer to that burning existential question of the late twentieth century first posed by Zippy the Pinhead: "Are we having fun yet?"

Featuring:
Lynda Barry, Charles Burns, Sue Coe, Robert Crumb, Will Eisner, Al Feldstein, Shary Flenniken, William M. Gaines, Bill Griffith, Jaime Hernadez, Jack Kirby, Harvey Kurtzman, Stan Lee, Paul Mavrides, Frank Miller, Victor Moscoso, Francaise Mouly, Dan O'Neill, Harvey Pekar, Gilbert Shelton, Spain, Art Spiegelman

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Extract featuring W. M. Gaimes

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A timeline of American Comics

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The New York World, owned by Joseph Pulitzer, begins publishing a series of comics by Richard Outcault taking place in Hogan's Alley, and featuring a boy in a yellow nightshirt who becomes known as "The Yellow Kid." The Yellow Kid becomes very popular in New York City, and, in 1897, William Hearst's New York Journal hires Oucault to draw the cartoon for them instead. Pulitzer responds by hiring George Luks to draw his own version of The Yellow Kid. Both strips end in 1898.

(As a side note, both the World and the Journal were known for sensationalism, each trying to top the other with more interesting stories, rather than sticking to reporting the facts. This practice has become known as "yellow journalism.")

Rudolph Dirks's The Katzenjammer Kids appears for the first time in the New York Journal on December 12. It stars a set of twin brothers, Hans and Fritz, and is the first strip to tell a story in a series of panels. It is still running today, as the oldest strip in syndication.

The first comic-strip reprint collection, The Yellow Kid in McFadden's Flats, is published as a 196-page hardcover book.
Top

Little Nemo in Slumberland, by Winsor McCay, begins running in the New York Herald. The first comic with a continuing story, it is still noted as one of the most richly illustrated comic strips of all time.

Mutt and Jeff becomes the first successful daily comic strip. Originally known as A. Mutt, Jeff joins the cast the following year. In addition to being a newspaper strip, it gets made into a series of animated films starting in 1913. The strip continues to be published through 1982.

Krazy Kat, which originated as filler drawings at the bottom of The Dingbat Family, is spun off into its own strip by writer and artist George Herriman. Starring Ignatz Mouse, Krazy Kat, and Offissa Pup, the strip is never very popular, but has a small and devoted following. Fortunately, this following includes William Randolph Hearst, who owns King Features Syndicate, which carries the strip until Herriman's death in 1944.
Top

The first of Rube Goldberg's ridiculously complicated contraptions, the "Automatic Weight Reducing Machine," is published in the New York Evening Mail.

Chic Young begins Blondie. She marries Dagwood in 1933. In an unprecedented set of crossovers in 2005, dozens of comic strips join in celebrating its 75 years in print.

Funnies on Parade, a collection of reprinted newspaper comic strips, is given away as an advertising promotion. It is the first to be printed in what becomes the standard size for modern comic books: 5.5" x 8". It's followed by Famous Funnies, a similar collection sold for ten cents.

Milton Caniff's Terry and the Pirates begins. The popular strip features the adventures of Terry Lee in the Far East.

Action Comics makes its first appearance, and features the first superhero ever: Superman. He can run faster than a train, leap over tall buildings, and block bullets with his chest, but isn't yet able to fly. The character is a hit, and many more superhero comics follow.

"The Bat-Man" makes his first appearance in Detective Comics. Unlike Superman, Batman has no powers; he fights crime using martial arts, technology, and his mind.

Timely Comics releases Marvel Comics, including Prince Namor the Sub-Mariner and several other heroes. Timely will eventually be renamed Marvel.

DC introduces The Flash, a superhero who can run faster than the speed of light.

DC presents Alan Scott, who makes a ring that allows him to use the light of the Green Lantern.

Brenda Starr debuts. The star of the strip is a redheaded reporter who often visits exotic places. It's notable for being created by a woman, Dale Messick. The strip continues to be female-created, now being written by Mary Schmich and drawn by June Brigman.

In what will become the Marvel universe, Steve Rogers is given super-soldier serum and a mighty shield, becoming Captain America.

DC introduces Wonder Woman, designed by psychiatrist William Marston to embody female ideals of heroism.

Redheaded teenager Archie Andrews makes his first appearance in Pep Comics. In 1945, the publisher will change its name from MLJ Comics to Archie Comics.
Top

Walt Kelly starts the daily Pogo comic strip. The Pogo Possum character had been introduced in the first issue of the Animal Comics comic book in 1941, but gained fame for his topical political humor in the newspaper strips.

Charles M. Schulz's Peanuts, the most profitable comic strip of all time, begins its 50-year run. He'd wanted to name it Li'l Folks, but the United Feature syndicate changed its name over Schulz's objections. Spinoffs of the comic, which features Charlie Brown and Snoopy, will include many animated TV specials and a Broadway musical, not to mention every imaginable merchandising tie-in. The strip ends the day Schulz dies, but newspapers continue to reprint the older installments.
Top

In response to public and Congressional objections to comic books featuring tales of crime and horror, the Comics Code Authority is created.

Marvel presents Stan Lee's The Fantastic Four, a superhero group consisting of Mr. Fantastic, The Invisible Girl, The Thing, and The Human Torch. Unusually, the team members didn't hide their real identities (Reed Richards, Susan Storm, Ben Grimm, and Johnny Storm). Reed and Susan would marry in 1965.

Marvel adds another two superheroes: Spider-Man and The Hulk. Bitten by a radioactive spider, Peter Parker gains the proportionate strength of a spider, and designs his own webshooters. He soon learns that with great power comes great responsibility. Dr. Banner, belted by gamma rays, turns into the Hulk, a giant green monster with matching purple pants.

Archie Comics debuts Sabrina, the Teenage Witch in the back of Archie's Madhouse. She'll get her own title in 1971, eventually starring in several cartoon shows and a live-action TV series.
Top

Josie McCoy is introduced by Archie Comics in She's Josie. In 1969, she'll become the head of a rock band, in Josie and the Pussycats.

Marvel Comics starts its first series of mutants, the X-Men, led by Professor X. The other founding members are Angel, Beast, Cyclops, Marvel Girl, and Iceman.

Daredevil, the Man Without Fear, appears in his own Marvel Comics title. This superhero was blinded by radioactive waste, which heightened his other senses.

In the DC universe, the Teen Titans makes its first appearance, consisting of Aqualad, Kid Flash, Robin, and Wonder Girl.

Garry Trudeau's Doonesbury begins appearing in daily newspapers, the first strip to be carried by Universal Press Syndicate. The strip combines the ongoing stories of various characters aging in real time with political satire, and would become the first comic strip to be awarded the Pulitzer Prize for Editorial Cartooning, in 1975.
Top

The For Better or For Worse comic strip debuts, telling the story of the Patterson family. The characters age in real time, and the strip becomes known for its realistic portrayal of life events. Lynn Johnston's creation will eventually be nominated for a Pulitzer, a rare distinction for any comic strip, but especially for a non-political one.
Top

The Far Side, a strange but popular daily panel, makes its first appearance in the San Francisco Chronicle on New Year's Day.

Bloom County begins in December. While modeled on Doonesbury to some extent, the strip has a wackier tone and includes talking animals. Its two most famous characters are Opus the penguin and Bill the Cat. (Ironically, Bill-specifically created as an unmerchandisable parody of Garfield-turns out to be highly mechandisable himself.) The strip wins a Pulitzer in 1987.

A consistently cheerful comic about everyday life, Pat Brady's Rose Is Rose begins its run in syndication. It often shifts to fanciful-sometimes surreal-points of view.

Calvin and Hobbes, the adventures of an imaginative boy and his stuffed tiger, begins its daily newspaper run. Author Bill Watterson becomes known for his refusal to merchandise the wildly popular characters in any way, and for insisting -in later years-that the Sunday strips be run in his preferred format or not at all. While the strip ends in 1996, it is still rerun in many papers.

The very first version of Maus, Art Spiegelman's story based on his father's Holocaust experiences, appeared on three pages of Funny Aminals in 1972. It got underway in earnest in 1980, when a 10-page installment appeared in Raw magazine. In 1986, the revised first six installments are published as a graphic novel: Maus: A Survivor's Tale. A second volume is published in 1991 as Maus II: And Here My Troubles Began. The combined work wins a special Pulitzer Prize. In addition to being a powerful story, Maus helps graphic novels begin to gain respectability among mainstream readers and critics.
Top

Greg Evans' Luann appears on the comic pages, chronicling the life of teenager Luann DeGroot. While a lighthearted strip in general, it's addressed heavy topics such as drugs, drunk driving, and cancer. It's also the first strip ever to feature a character getting her first period.

Neil Gaiman begins The Sandman, published by DC Comics. Along with Swamp Thing, it is used to launch the Vertigo line of comics aimed at adults. The popular and complex series runs for 75 issues, with the occasional followup miniseries or graphic novel.

Stone Soup begins to be served. Jan Eliot's strip is one of the few to be centered around a single mother, Val Stone. A widow and full-time worker, Val has two children, Holly and Alix (aged 13 and 9). At the start of the strip, she lives with her mother, and her sister, a divorcé with a toddler, Max. While the characters don't age, Joan eventually marries their next door neighbor, Wally, who's taken in his teenaged nephew, Andy.

The Boondocks, by Aaron McGruder, begins syndication in more than 150 newspapers. The strip stars African American children in a mostly white area. Its bitingly satirical commentary on racial and political issues has earned it both praise and protests.

The first American edition of Shonen Jump, dated January 2003, is released the preceding December. This 288-page digest of Japanese comic books, or manga, includes installments of Yu-Gi-Oh! and One Piece. The first issue sells almost 300,000 copies, a definite success, and another installment follows each month thereafter. The magazine is a spinoff of Japan's Weekly Shonen Jump, which has been running since 1968. Pages in the American edition are read "backward," from right to left, so that the artwork appears as it did in the original Japanese version.

The publishers of Shonen Jump introduce Shojo Beat, a manga digest targeted at older teens, particularly teenaged girls. ("Shonen" means "boy," and "shojo" means "girl.") The tagline is "Manga from the heart."
Top

Captain America is shot and killed by his nemesis, Red Skull.
Top

Howard Zinn - political scientist, historian, and social critic - releases a graphic novel titled A People's History of American Empire. It is based on Zinn's classic book A People's History of the United States. The graphic novel was illustrated by Mike Konopacki.

Iron Man, starring Robert Downey, Jr., and based on the Marvel comic of the same name, is released in theaters to much critical acclaim.

The Dark Knight, the sequel to Batman Begins, breaks box-office records during its opening weekend with $155.41 million.
Top

Watchmen, the film adaptation of the acclaimed comic book by Alan Moore and Dave Gibbons, is released in theaters. The movie was deemed "unfilmable" after a handful of directors failed to produce the movie in the 1990s. Aside from a few minor alterations, the film remains faithful to the plot of the comic book. The film was directed by Zack Snyder, who gained wide recognition after the release of his film adaptation of 300 in 2007.

The Walt Disney Company agrees to buy Marvel Entertainment Inc. (Marvel Comics) for $4 billion dollars.
Top

Digital comics enter the mainstream, with online readership and apps for comics on the go. According to comicsalliance.com, graphic novel sales fell 20% in 2010, while digital comics sales logged an impressive 1000% increase.
Top

Thor, a film based on the Marvel Comics character of the same name, is released in May. It ends up eighth on the list of the top ten highest grossing movies of the year with a box office total of more than $181 million. Captain America: The First Avenger comes in at number ten on the list, making $176 million.
Top

Movies based on comics continue to dominate the box office. Marvel's The Avengers is the top movie of 2012, with a domestic gross of more than $623 million. The Dark Knight Rises comes in second and The Amazing Spider-Man is seventh on the top ten year end list.
Top

The Guardians of the Galaxy is the top box office movie of the year, with a domestic gross of more than $333 million. Captain American: The Winter Soldier comes in third and X-Men: Days of Future Past is eighth.

More comics are adapted for television as well. TV shows such as Marvel's Agents of S.H.I.E.L.D., Gotham, and Constantine are all based on comics. Due to the popularity of the Captain America films and Marvel's Agents of S.H.I.E.L.D., a TV series based on Marvel's Agent Carter is announced. It will air in 2015.
Top

The New York World, owned by Joseph Pulitzer, begins publishing a series of comics by Richard Outcault taking place in Hogan's Alley, and featuring a boy in a yellow nightshirt who becomes known as "The Yellow Kid." The Yellow Kid becomes very popular in New York City, and, in 1897, William Hearst's New York Journal hires Oucault to draw the cartoon for them instead. Pulitzer responds by hiring George Luks to draw his own version of The Yellow Kid. Both strips end in 1898.

(As a side note, both the World and the Journal were known for sensationalism, each trying to top the other with more interesting stories, rather than sticking to reporting the facts. This practice has become known as "yellow journalism.")

Rudolph Dirks's The Katzenjammer Kids appears for the first time in the New York Journal on December 12. It stars a set of twin brothers, Hans and Fritz, and is the first strip to tell a story in a series of panels. It is still running today, as the oldest strip in syndication.

The first comic-strip reprint collection, The Yellow Kid in McFadden's Flats, is published as a 196-page hardcover book.
Top

Little Nemo in Slumberland, by Winsor McCay, begins running in the New York Herald. The first comic with a continuing story, it is still noted as one of the most richly illustrated comic strips of all time.

Mutt and Jeff becomes the first successful daily comic strip. Originally known as A. Mutt, Jeff joins the cast the following year. In addition to being a newspaper strip, it gets made into a series of animated films starting in 1913. The strip continues to be published through 1982.

Krazy Kat, which originated as filler drawings at the bottom of The Dingbat Family, is spun off into its own strip by writer and artist George Herriman. Starring Ignatz Mouse, Krazy Kat, and Offissa Pup, the strip is never very popular, but has a small and devoted following. Fortunately, this following includes William Randolph Hearst, who owns King Features Syndicate, which carries the strip until Herriman's death in 1944.
Top

The first of Rube Goldberg's ridiculously complicated contraptions, the "Automatic Weight Reducing Machine," is published in the New York Evening Mail.

Chic Young begins Blondie. She marries Dagwood in 1933. In an unprecedented set of crossovers in 2005, dozens of comic strips join in celebrating its 75 years in print.

Funnies on Parade, a collection of reprinted newspaper comic strips, is given away as an advertising promotion. It is the first to be printed in what becomes the standard size for modern comic books: 5.5" x 8". It's followed by Famous Funnies, a similar collection sold for ten cents.

Milton Caniff's Terry and the Pirates begins. The popular strip features the adventures of Terry Lee in the Far East.

Action Comics makes its first appearance, and features the first superhero ever: Superman. He can run faster than a train, leap over tall buildings, and block bullets with his chest, but isn't yet able to fly. The character is a hit, and many more superhero comics follow.

"The Bat-Man" makes his first appearance in Detective Comics. Unlike Superman, Batman has no powers; he fights crime using martial arts, technology, and his mind.

Timely Comics releases Marvel Comics, including Prince Namor the Sub-Mariner and several other heroes. Timely will eventually be renamed Marvel.

DC introduces The Flash, a superhero who can run faster than the speed of light.

DC presents Alan Scott, who makes a ring that allows him to use the light of the Green Lantern.

Brenda Starr debuts. The star of the strip is a redheaded reporter who often visits exotic places. It's notable for being created by a woman, Dale Messick. The strip continues to be female-created, now being written by Mary Schmich and drawn by June Brigman.

In what will become the Marvel universe, Steve Rogers is given super-soldier serum and a mighty shield, becoming Captain America.

DC introduces Wonder Woman, designed by psychiatrist William Marston to embody female ideals of heroism.

Redheaded teenager Archie Andrews makes his first appearance in Pep Comics. In 1945, the publisher will change its name from MLJ Comics to Archie Comics.
Top

Walt Kelly starts the daily Pogo comic strip. The Pogo Possum character had been introduced in the first issue of the Animal Comics comic book in 1941, but gained fame for his topical political humor in the newspaper strips.

Charles M. Schulz's Peanuts, the most profitable comic strip of all time, begins its 50-year run. He'd wanted to name it Li'l Folks, but the United Feature syndicate changed its name over Schulz's objections. Spinoffs of the comic, which features Charlie Brown and Snoopy, will include many animated TV specials and a Broadway musical, not to mention every imaginable merchandising tie-in. The strip ends the day Schulz dies, but newspapers continue to reprint the older installments.
Top

In response to public and Congressional objections to comic books featuring tales of crime and horror, the Comics Code Authority is created.

Marvel presents Stan Lee's The Fantastic Four, a superhero group consisting of Mr. Fantastic, The Invisible Girl, The Thing, and The Human Torch. Unusually, the team members didn't hide their real identities (Reed Richards, Susan Storm, Ben Grimm, and Johnny Storm). Reed and Susan would marry in 1965.

Marvel adds another two superheroes: Spider-Man and The Hulk. Bitten by a radioactive spider, Peter Parker gains the proportionate strength of a spider, and designs his own webshooters. He soon learns that with great power comes great responsibility. Dr. Banner, belted by gamma rays, turns into the Hulk, a giant green monster with matching purple pants.

Archie Comics debuts Sabrina, the Teenage Witch in the back of Archie's Madhouse. She'll get her own title in 1971, eventually starring in several cartoon shows and a live-action TV series.
Top

Josie McCoy is introduced by Archie Comics in She's Josie. In 1969, she'll become the head of a rock band, in Josie and the Pussycats.

Marvel Comics starts its first series of mutants, the X-Men, led by Professor X. The other founding members are Angel, Beast, Cyclops, Marvel Girl, and Iceman.

Daredevil, the Man Without Fear, appears in his own Marvel Comics title. This superhero was blinded by radioactive waste, which heightened his other senses.

In the DC universe, the Teen Titans makes its first appearance, consisting of Aqualad, Kid Flash, Robin, and Wonder Girl.

Garry Trudeau's Doonesbury begins appearing in daily newspapers, the first strip to be carried by Universal Press Syndicate. The strip combines the ongoing stories of various characters aging in real time with political satire, and would become the first comic strip to be awarded the Pulitzer Prize for Editorial Cartooning, in 1975.
Top

The For Better or For Worse comic strip debuts, telling the story of the Patterson family. The characters age in real time, and the strip becomes known for its realistic portrayal of life events. Lynn Johnston's creation will eventually be nominated for a Pulitzer, a rare distinction for any comic strip, but especially for a non-political one.
Top

The Far Side, a strange but popular daily panel, makes its first appearance in the San Francisco Chronicle on New Year's Day.

Bloom County begins in December. While modeled on Doonesbury to some extent, the strip has a wackier tone and includes talking animals. Its two most famous characters are Opus the penguin and Bill the Cat. (Ironically, Bill-specifically created as an unmerchandisable parody of Garfield-turns out to be highly mechandisable himself.) The strip wins a Pulitzer in 1987.

A consistently cheerful comic about everyday life, Pat Brady's Rose Is Rose begins its run in syndication. It often shifts to fanciful-sometimes surreal-points of view.

Calvin and Hobbes, the adventures of an imaginative boy and his stuffed tiger, begins its daily newspaper run. Author Bill Watterson becomes known for his refusal to merchandise the wildly popular characters in any way, and for insisting -in later years-that the Sunday strips be run in his preferred format or not at all. While the strip ends in 1996, it is still rerun in many papers.

The very first version of Maus, Art Spiegelman's story based on his father's Holocaust experiences, appeared on three pages of Funny Aminals in 1972. It got underway in earnest in 1980, when a 10-page installment appeared in Raw magazine. In 1986, the revised first six installments are published as a graphic novel: Maus: A Survivor's Tale. A second volume is published in 1991 as Maus II: And Here My Troubles Began. The combined work wins a special Pulitzer Prize. In addition to being a powerful story, Maus helps graphic novels begin to gain respectability among mainstream readers and critics.
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Greg Evans' Luann appears on the comic pages, chronicling the life of teenager Luann DeGroot. While a lighthearted strip in general, it's addressed heavy topics such as drugs, drunk driving, and cancer. It's also the first strip ever to feature a character getting her first period.

Neil Gaiman begins The Sandman, published by DC Comics. Along with Swamp Thing, it is used to launch the Vertigo line of comics aimed at adults. The popular and complex series runs for 75 issues, with the occasional followup miniseries or graphic novel.

Stone Soup begins to be served. Jan Eliot's strip is one of the few to be centered around a single mother, Val Stone. A widow and full-time worker, Val has two children, Holly and Alix (aged 13 and 9). At the start of the strip, she lives with her mother, and her sister, a divorcé with a toddler, Max. While the characters don't age, Joan eventually marries their next door neighbor, Wally, who's taken in his teenaged nephew, Andy.

The Boondocks, by Aaron McGruder, begins syndication in more than 150 newspapers. The strip stars African American children in a mostly white area. Its bitingly satirical commentary on racial and political issues has earned it both praise and protests.

The first American edition of Shonen Jump, dated January 2003, is released the preceding December. This 288-page digest of Japanese comic books, or manga, includes installments of Yu-Gi-Oh! and One Piece. The first issue sells almost 300,000 copies, a definite success, and another installment follows each month thereafter. The magazine is a spinoff of Japan's Weekly Shonen Jump, which has been running since 1968. Pages in the American edition are read "backward," from right to left, so that the artwork appears as it did in the original Japanese version.

The publishers of Shonen Jump introduce Shojo Beat, a manga digest targeted at older teens, particularly teenaged girls. ("Shonen" means "boy," and "shojo" means "girl.") The tagline is "Manga from the heart."
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Captain America is shot and killed by his nemesis, Red Skull.
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Howard Zinn - political scientist, historian, and social critic - releases a graphic novel titled A People's History of American Empire. It is based on Zinn's classic book A People's History of the United States. The graphic novel was illustrated by Mike Konopacki.

Iron Man, starring Robert Downey, Jr., and based on the Marvel comic of the same name, is released in theaters to much critical acclaim.

The Dark Knight, the sequel to Batman Begins, breaks box-office records during its opening weekend with $155.41 million.
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Watchmen, the film adaptation of the acclaimed comic book by Alan Moore and Dave Gibbons, is released in theaters. The movie was deemed "unfilmable" after a handful of directors failed to produce the movie in the 1990s. Aside from a few minor alterations, the film remains faithful to the plot of the comic book. The film was directed by Zack Snyder, who gained wide recognition after the release of his film adaptation of 300 in 2007.

The Walt Disney Company agrees to buy Marvel Entertainment Inc. (Marvel Comics) for $4 billion dollars.
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Digital comics enter the mainstream, with online readership and apps for comics on the go. According to comicsalliance.com, graphic novel sales fell 20% in 2010, while digital comics sales logged an impressive 1000% increase.
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Thor, a film based on the Marvel Comics character of the same name, is released in May. It ends up eighth on the list of the top ten highest grossing movies of the year with a box office total of more than $181 million. Captain America: The First Avenger comes in at number ten on the list, making $176 million.
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Movies based on comics continue to dominate the box office. Marvel's The Avengers is the top movie of 2012, with a domestic gross of more than $623 million. The Dark Knight Rises comes in second and The Amazing Spider-Man is seventh on the top ten year end list.
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The Guardians of the Galaxy is the top box office movie of the year, with a domestic gross of more than $333 million. Captain American: The Winter Soldier comes in third and X-Men: Days of Future Past is eighth.

More comics are adapted for television as well. TV shows such as Marvel's Agents of S.H.I.E.L.D., Gotham, and Constantine are all based on comics. Due to the popularity of the Captain America films and Marvel's Agents of S.H.I.E.L.D., a TV series based on Marvel's Agent Carter is announced. It will air in 2015.
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The New York World, owned by Joseph Pulitzer, begins publishing a series of comics by Richard Outcault taking place in Hogan's Alley, and featuring a boy in a yellow nightshirt who becomes known as "The Yellow Kid."

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An overview of comics by author Scott McLoud in a comic form

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Wiki Article on British Comics

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A British comic is a periodical published in the United Kingdom that contains comic strips. It is generally referred to as a or a comic magazine, and historically as a comic paper.

British comics are usually comics anthologies which are typically aimed at children, and are published weekly, although some are also published on a fortnightly or monthly schedule. The two most popular British comics, and , were released by DC Thomson in the 1930s. By 1950 the weekly circulation of both reached two million. Explaining the enormous popularity of comics in British popular culture during this period, Anita O'Brien, director curator at London's Cartoon Museum, states: "When comics like the Beano and Dandy were invented back in the 1930s - and through really to the 1950s and 60s - these comics were almost the only entertainment available to children."

In 1954, comics introduced Roy of the Rovers, the hugely popular football based strip recounting the life of Roy Race and the team he played for, Melchester Rovers. The stock media phrase "real 'Roy of the Rovers' stuff" is often used by football writers, commentators and fans when describing displays of great skill, or surprising results that go against the odds, in reference to the dramatic storylines that were the strip's trademark. Other comics such as , , , and also flourished. Some comics, such as Judge Dredd and other 2000 AD titles, have been published in a tabloid form. Underground comics and "small press" titles have also appeared in the UK, notably and Escape Magazine. While the best selling comics in the UK have been British, American comic books and Japanese manga are popular in the UK.

The description comics derived from the names of popular titles such as , and from the fact that in the beginning all the titles presented only comical (i.e. humorous) content.

British comics typically differ from the American comic book. Although historically they shared the same format size, based on a sheet of 30 x 22 inch imperial paper, folded, British comics have moved away from this size, adopting a standard magazine size. Until that point, the British comic was also usually printed on newsprint, with black or a dark red used as the dark colour and the four colour process used on the cover. The Beano and The Dandy both switched to an all-colour format in 1993.

Originally aimed at the semi-literate working class (in that it replaced the text-based stories of the story papers with picture-based stories, which were less challenging for a poorly educated readership), the comic gradually came to be seen as childish (in part because, due to gradual improvements in public education, children were eventually the only remaining market for a format designed to be unchallenging for the reader). Hence by the mid 20th Century it was being marketed exclusively towards children.

Historically, strips were of one or two pages in length, with a single issue of a comic containing upwards of a dozen separate strips, featuring different characters. In more recent times, strips have become longer and have tended to continue over a number of issues and periods of time.

Whilst some comics contained only strips, other publications such as have had a slightly different focus, providing their girl readers with articles about, and photographs of, pop stars and television/ film actors, plus more general articles about teenage life, whilst throwing in a few comic strips for good measure. For boys there were, historically, similar publications based upon soccer, such as , which featured non-fiction picture articles about popular footballers, league clubs, and general football news, accompanied by a limited range of football-based comic strips.

In British comics history, there are some extremely long-running publications such as and published by D. C. Thomson & Co., a newspaper company based in Dundee, Scotland. The Dandy began in 1937 and The Beano in 1938. The Beano is still going today while The Dandy ceased print publication in 2012. The Boys' Own Paper, another long running publication which was aimed at boys in a slightly older age group, lasted from 1879 to 1967.

There has been a continuous tradition, since the 1950s, of black and white comics, published in a smaller page size format, many of them war titles such as , inspiring youngsters with tales of the exploits of the army, navy and Royal Air Force, mainly in the two world wars. There have also been some romance titles and some westerns in this format.

On March 19, 2012, the British postal service, the Royal Mail, released a set of stamps depicting characters and series from British comics. The collection featured and .

19th century

In the 19th century, story papers (containing illustrated text stories), known as " penny dreadfuls" from their cover price, served as entertainment for British children. Full of close-printed text with few illustrations, they were essentially no different from a book, except that they were somewhat shorter and that typically the story was serialised over many weekly issues in order to maintain sales.

These serial stories could run to hundreds of instalments if they were popular. And to pad out a successful series, writers would insert quite extraneous material such as the geography of the country in which the action was occurring, so that the story would extend into more issues. Plagiarism was rife, with magazines profiting from competitors' successes under a few cosmetic name changes. Apart from action and historical stories, there was also a fashion for horror and the supernatural, with epics like Varney the Vampire running for years. Horror, in particular, contributed to the epithet "penny dreadful". Stories featuring criminals such as 'Spring-Heeled Jack', pirates, highwaymen (especially Dick Turpin), and detectives (including Sexton Blake) dominated decades of the Victorian and early 20th-century weeklies.

Comic strips-stories told primarily in strip cartoon form, rather than as a written narrative with illustrations-emerged only slowly. Ally Sloper's Half Holiday (1884) is regarded to be the first comic strip magazine to feature a recurring character ( Ally Sloper). This strip cost one penny and was designed for adults. Ally, the recurring character, was a working class fellow who got up to various forms of mischief and often suffered for it.

In 1890 two more comic magazines debuted before the British public, Comic Cuts and Illustrated Chips, both published by Amalgamated Press. These magazines notoriously reprinted British and American material, previously published in newspapers and magazines, without permission. The success of these comics was such that Amalgamated's owner, Alfred Harmsworth, was able to launch The Daily Mirror and The Daily Mail newspapers on the profits.

20th century

Over the next thirty years or so, comic publishers saw the juvenile market as the most profitable, and thus geared their publications accordingly, so that by 1914 most comics were aimed at eight- to twelve-year-olds.

The period between the two wars is notable mainly for the publication of annuals by Amalgamated Press, and also the emergence of DC Thomson, launching both and in the late 1930s, which thrived during the Second World War. Their successful mix of irreverence and slapstick led to many similar titles, notably , and . However the originators of this format have outlasted all rivals, and The Beano is still published today.

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The problem which now faces society in the trade that has sprung up of presenting sadism, crime, lust, physical monstrosity, and horror to the young is an urgent and a grave one.

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In the early 1950s, "lurid American 'crime' and 'horror comics' reached Britain", prompting what in retrospect has been characterised as a moral panic. Copies of Tales from the Crypt and The Vault of Horror, which arrived as ballast in ships from the United States, were first only available in the "environs of the great ports of Liverpool, Manchester, Belfast and London", but by "using blocks made from imported American matrices", British versions of Tales from the Crypt and The Vault of Horror were printed in London and Leicester and sold in "small back-street newsagents." The ensuing outcry was heard in Parliament, and at the urging of the Most Reverend Geoffrey Fisher, the Archbishop of Canterbury, Major Gwilym Lloyd George, the Home Secretary and Minister of Welsh Affairs, and the National Union of Teachers, Parliament passed the Children and Young Persons (Harmful Publications) Act 1955. The act prohibited "any book, magazine or other like work which is of a kind likely to fall into the hands of children or young persons and consists wholly or mainly of stories told in pictures (with or without the addition of written matter), being stories portraying (a) the commission of crimes; or (b) acts of violence or cruelty; or (c) incidents of a repulsive or horrible nature; in such a way that the work as a whole would tend to corrupt a child or young person into whose hands it might fall." Although the act had a sunset clause, in 1969 the Act was made permanent, and continues to be in force today, represented, for example, in the Royal Mail prohibition against mailing horror comics and the matrices used to print them.

During the 1950s and 1960s the most popular comic for older age-group boys was the published by Hulton Press. Eagle was published in a more expensive format, and was a gravure-printed weekly. This format was one used originally by Mickey Mouse Weekly during the 1930s. Eagle's success saw a number of comics launched in a similar format, TV Century 21, Look and Learn and being notable examples. Comics published in this format were known in the trade as "slicks". At the end of the 1960s these comics moved away from gravure printing, preferring offset litho due to cost considerations arising from decreasing readership.

However, the boys adventure comic was still popular, and titles such as and published by IPC saw new adventure heroes become stars, including Roy of the Rovers who would eventually gain his own title. Odhams Press was a company which mainly printed new material that was adventure oriented, although it also reprinted American Marvel Comics material in its Power Comics titles including and .

By 1970 the British comics market was in a long-term decline, as comics lost popularity in the face of the rise of other popular pastimes for children. Initially the challenge was the rising popularity of television, a trend which the introduction of colour television to Britain during 1969 set in stone. In an effort to counter the trend, many publishers switched the focus of their comics towards television-related characters. The television shows of Gerry Anderson such as Thunderbirds and Captain Scarlet and the Mysterons had begun this in 1966 with the launch of tie-in comics such as TV21 and Lady Penelope that included only strips related to Anderson's TV shows. Polystyle Publications already published a TV-related comic for young children called TV Comic, and in 1971 moved into the older market with (later retitled TV Action). The teenage market saw Look-In magazine feature strips solely based on popular television programmes. Another strand of the reaction to television was the launch of comics focused entirely on football (soccer being as popular as television amongst boys), with titles such as Shoot and Scorcher and Score. Those comics which didn't address the issue of television began to close, merging with the few survivors.

In the 1970s very few boys' comics in the "slick" format were launched, although Countdown was one exception, launching in 1971 with content similar to TV 21 (which had closed by then) and TV Comic. , a reprint title, was another, in 1976. Girls' titles which had launched in the slick format in the 1960s continued in that format into the 1970s; and others, such as Diana and Judy, changed to become slicks. They found themselves in the same market as teenage titles for girls such as Boyfriend and Blue Jeans, which had changed their content and were featuring mainly product-related articles and photo-strips.

In 1972, Marvel set up a publishing arm in the UK, Marvel UK, reprinting American superhero strips. These proved extremely popular, and a range of weekly titles were being published by 1975. So much so that in 1976 the parent company briefly published a minimal amount of new material specifically for the UK market in Captain Britain. The American reprint material proved to be more successful, and continued to appear into the 1980s, at which stage Marvel UK also began diversifying into home produced original material, both UK originated strips featuring American created characters such as Captain Britain, the Hulk and the Black Knight, and wholly original strips like Night Raven. They also began producing television-based material, initially with Dr Who Weekly, launched in 1979.

In the late 1960s and into the 1970s, the underground comics movement inspired two new comics in the UK: and Nasty Tales were launched with the Underground premise of counter-culture rebellion. Oz notoriously featured the children's character Rupert the Bear performing sexual acts. Both magazines were tried at the Old Bailey under the Obscene Publications Act because of their content. The Oz defendants were convicted, although the conviction was overturned on appeal. The Nasty Tales defendants were cautioned. However, both these comics ceased publication soon after their trial, as much due to the social changes at the end of the counter-culture movement as any effect of the court cases. These were always adult magazines, not titles aimed at the mainstream children's market.

In the mid-1970s, comics became more action oriented. The first such title to be launched was in 1974. Published by DC Thomson, it proved to be a success, and led to its then rival, IPC Magazines Ltd, producing Battle Picture Weekly, a comic notably grimmer in style than its competitor. Battle's success led to IPC launching another, similarly styled title, , which became a success too, but also became controversial, due to its violent content, such as a front cover illustration which appeared to show armed children beating up a helpless police officer. Complaints about its tone eventually led to questions being asked in the House of Commons. Although an extremely popular title, IPC decided nonetheless to drastically tone down the content after 36 issues, and issue 37 was pulped. When it returned to newsstands it was far less violent, which neutered the comic's appeal. The title quickly declined and was merged with Battle.

Action's position as the most popular title was taken over by , a science-fiction comic launched in 1977 by IPC. Created as a comic for older boys and girls, it also held appeal for teenage and even adult readers. In the 1960s IPC began to source comic art from Spain, mainly for financial reasons. This trend was continued through to the launch of 2000 AD. Carlos Ezquerra is the most notable Spanish artist to have worked in British comics, having worked on both Battle and 2000 AD, and is credited with the creation of the look of Judge Dredd.

The magazine, launched in 1977, lasted into the late 1980s.[citation needed ] In 1982 The Eagle was relaunched, this time including photo-strips, but still with Dan Dare as the lead story. The comic moved it from the front page to the centre pages to allow a more magazine-style cover.

Dez Skinn launched , possibly the most notable comic of the period, as it contained both the and V for Vendetta strips, by Alan Moore. Warrior was a British equivalent of Heavy Metal magazine. Marvelman was a Captain Marvel clone that Skinn acquired, although the legality of that acquisition has been questioned. In Moore's hands the strip became an "adult" style superhero, and was later reprinted, with the story continued, in an American full-colour comic, with the name changed from "Marvelman" to "Miracleman" to avoid any lawsuits that Marvel Comics may have considered.

Adult comics also witnessed a slight resurgence with psst!, an attempt to market a French style monthly bande dessinée, and Escape Magazine, published by Paul Gravett, former psst! promotions man. Escape is the other notable comic from this period, featuring early work from Eddie Campbell and Paul Grist, amongst others. Neither comic managed to survive in the vagaries of the comics market, Warrior beset by copyright issues and Escape by lack of publisher interest. During this period a number of smaller publishers were formed to provide inventive publications appealing to niche markets. Congress Press was one of these companies, providing titles such as Birthrite, Heaven & Hell and a graphic novel, Spookhouse.

Most of the surviving titles published by IPC, Fleetway and DC Thomson were merged into each other in the late 1980s and early 1990s, as the popularity of comics waned further in response to a surge in the popularity of television (a popularity which received another major boost from the late 1970s onward as domestic video recorders became available), and due to the popularity of video games (as inexpensive home computers such as the ZX Spectrum, mainly used for gaming, became available from 1980). Although new titles were launched in this period, none seemed to find a sustainable audience. Notable comics of the period included , , , and .

Deadline was conceived by Steve Dillon and Brett Ewins, and mixed original strips with reprints of U.S. strips, notably Love & Rockets, and articles and interviews on the British independent music scene of the time. Tank Girl was its most notable strip. Crisis was published by Fleetway Publications, a company formed from IPC's comics holdings. It was aimed at readers who had outgrown 2000 AD, and featured first works by Garth Ennis and Sean Phillips amongst others.

One publication of that period did find an audience. began life in 1979 as a fanzine style publication, before, in 1989, becoming the biggest selling comic in the country. Based upon bad taste, crude language, crude sexual innuendo, and the parodying of strips from (among them Black Bag - the Faithful Border Bin Liner, a parody of The Dandy's series about a Border Collie), the popularity of Viz depended entirely upon a variant of Sixties counter-culture; and it promptly inspired similarly themed titles, including , , Talking Turkey, Elephant Parts, , Brain Damage, , and , all of which failed to achieve Viz's longevity and folded, while Viz remained one of the United Kingdom's top selling magazines.

21st century

Beginning in 2000, the British market arrested its long decline. However, there is no sign of any great growth in circulation for the few remaining titles, and no sign of any new launches from mainstream publishers into the comics arena. An ever-increasing number of small press and fanzine titles are being produced, such as or FutureQuake, aided by the cheapness and increasingly professional appearance of desktop publishing programs. It is from this scene that the UK's new talents now tend to emerge (e.g. Al Ewing, Henry Flint or Simon Spurrier).

After they were purchased by Rebellion Developments, both and the Judge Dredd Megazine have seen the release of more adaptations and trade paperbacks, including complete reprint collections of the entire runs of Judge Dredd, Strontium Dog and Nemesis the Warlock. Starting in 2006 the Megazine began a regular small press section which usually features an article on a title by Matthew Badham or David Baillie and a small press story.

While British companies and creators have helped create the market for collected volumes there have, with a few exceptions like Raymond Briggs, been very few British original graphic novels published. Briggs himself has said "On the Continent, graphic novels have been as accepted as films or books for many years, but England has had a snobby attitude towards them. They've always been seen as something just for children". However, thanks to the strong sales for Briggs' Ethel and Ernest, and Jimmy Corrigan winning The Guardian's best first novel award, publishers have started expanding into this area. Random House UK's imprint Jonathan Cape has tripled its graphic novel output and Random House has also established Tanoshimi to publish manga. Other publishers have also been increasing their output, which, as well as producing original works like Alice in Sunderland, have also been included adaptations of works of literature. There are a number of new publishers who are specifically targeting this area, including Classical Comics and Self Made Hero, the latter having an imprint focused on manga adaptations of the works of Shakespeare.

This highlights another recent change, as there has been an increase in British original English-language manga. Self Made Hero's 'Manga Shakespeare' imprint draws on talent discovered in Tokyopop's UK/Irish version of Rising Stars of Manga, including members of the UK collective Sweatdrop Studios, who have also contributed to other British-based efforts like ILYA's Mammoth Book of Best New Manga and MangaQuake. Creators involved in those collections who have gone on to do several manga style graphic novels include British based Japanese creators such as Chie Kutsuwada and Michiru Morikawa, as well as, conversely, a British writer based in Japan, Sean Michael Wilson.

Released at the start of the 21st century was , a comic which mixed comic strips alongside game reviews and other articles. Beginning in 2002, this comic proved very successful and is still running. Its influence can be felt on other comics as well most notably when , Britain's longest running comic at the time, became the Dandy Xtreme in August 2007; it borrowed many of the features prevalent in Toxic, mixing articles alongside comic strips. However, The Dandy eventually moved away with this strategy in October 2010, when the comic was revamped, and published its final issue on its 75th anniversary in 2012. The (which also started in 2007) also borrowed some of Toxic's features. That title was then replaced by The 100% Official Dennis the Menace and Gnasher Megazine, which was later renamed Epic.

launched at the end of May 2008 drawing together creators from the small press and manga, as well as figures from mainstream British comics and other fields, including author Philip Pullman. As it transpired, it didn't make it to its first birthday, ending with issue 43. However a new comic The Phoenix began in January 2012 which is a successor to The DFC.

The comic reading public in the UK were not always able to get reliable supplies of American comic books and yet have always enjoyed the different approach to comics writing from the other side of the Atlantic. So the lack of reliable supplies was supplemented by a variety of black and white reprints of Marvel's 1950s monster comics, Fawcett's Captain Marvel, and some other characters such as Sheena, Mandrake the Magician, The Phantom etc. Several reprint companies were involved in repackaging American material for the British market, notably the importer and distributor Thorpe & Porter.

Thorpe & Porter published similar formatted titles under various names. They were also re-publishing Dell's Four Color series and Classics Illustrated in the UK. Their material also included some work never before published in the US. Thorpe & Porter published many black & white reprints of American comics in the 1950s. Thorpe & Porter/Stratos published a long-running Marvel series, Kid Colt Outlaw, which contained black-and-white reprints from both Atlas and DC. They also published and Rawhide Kid in a smaller black-and-white format, though these were usually the entire contents of various American issues reprinted.

When Captain Marvel ceased publication in the United States because of a lawsuit, the British reprint company, L. Miller & Son, copied the entire Captain Marvel idea in every detail, and began publishing their own knock-off under the names Marvelman and Young Marvelman, taking advantage of different copyright laws. These clone versions continued for a few years and, as seen above, were revived years later in Warrior. L. Miller also reprinted many other American series including the early 1950s and Black Magic in black and white format. These usually contain the American stories which relate to the cover but also contain other additional gems toward the back of the comic to fill-up the 64 pages.

Sheena, Queen of the Jungle, a female version of Tarzan (with an element of H. Rider Haggard's "She who must be obeyed" - She... Na!), was licensed from Will Eisner's Eisner-Iger studio for a British and Australasian tabloid, , in 1937. The success of this character led to the Wags artwork being repackaged for publication in the United States for Fiction House's Jumbo Comics, thus exporting the character back to her country of origin.

The reprint market really took off in the 1980s with Titan Books releasing collections of British material, as well as signing deals with DC Comics to release American comic books in the UK. Igor Goldkind was Titan's, and Forbidden Planet's, marketing consultant at the time and helped popularise the term " graphic novel" for the softcover trade paperbacks they were releasing, which generated a lot of attention from the mainstream press.

As well as Marvel UK reprints, Panini Comics reprint many of Marvel's titles. These include Ultimate Spider-Man (originally holding two issues of either Ultimate Spider-Man or Ultimate Marvel Team-Up, now existing as a double feature with Ultimate X-Men) and also produce a Collector's Edition line of comics, featuring a cardboard cover, three stories and a letters page on the inside back cover. Titles printed include many Marvel comics, including Astonishing Spider-Man, Essential X-Men and Mighty World of Marvel which reprints a variety of Marvel Comics. They also printed one DC comic, Batman Legends, reprinting various adventures (e.g. two parts of a multi-title crossover and an issue of Batman: Year One), though currently this title is published by Titan Magazines

Since 2005, a small selection of American translations of the most popular Japanese comics have been reprinted in the UK by major publishers such as Random House, through their Tanoshimi imprint, and the Orion Publishing Group. Both no longer publish Japanese comics in British versions, for Orion, the reprints they were handling have been switched to having the original American versions imported, however all Japanese comic publishings by Random House were abandoned in early 2009. Simultaneously, the very small press Fanfare has published a few UK-exclusive English-language editions of alternative Japanese manga and French bande dessinée, both sublicensed from the Spanish publisher Ponent Mon.

Thorpe & Porter and American comics

In the 1950s and 1960s American comics typically arrived in the UK as ballast on ships. In 1959, Thorpe & Porter (widely known as 'T & P') became the sole UK distributor of Marvel comics. These were printed on Marvel's American printing presses, along with a special cover giving the British price instead of the price in cents, and shipped across the Atlantic. Inside the front cover, with the indicia, a sentence mentioned Thorpe & Porter as sole distributor in the UK market. Thus it was that brand new American-printed copies of Fantastic Four #1, Amazing Fantasy #15, The Amazing Spider-Man #1, and countless others, appeared in the UK.

Thorpe & Porter was purchased by the distribution arm of DC Comics, then known as IND., in 1964, going on to publish an official Superman/Batman reprint book, DC Special.

There have been hundreds of comics in the UK over the years, including:

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A British comic is a periodical published in the United Kingdom that contains comic strips. It is generally referred to as a or a comic magazine, and historically as a comic paper. British comics are usually comics anthologies which are typically aimed at children, and are published weekly, although some are also published on a fortnightly or monthly schedule.

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-Demi

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The History of Advertising in 60 Seconds

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ALL MY CREATIVE RESEARCH TASKS.

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Link to my blog where you can find all given tasks etc.

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Hello, I've placed some timelines on my blog but forgot to add the blog to this address, so here it is...

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A well-known image that I'm sure many of us have seen before is the famous 'Lunch atop a Skyscraper' photograph. It makes me giddy every time I look at it!

Who - the men in the photograph are among the construction crew that helped to build the Rockefeller Center.

What - as you can see, they are apparently at lunch-break, casually eating and chatting while having a smoke. They are approximately 850 feet above ground level! Not for me...

Where - taken in Manhatten, New York.

Why - the picture was taken on the 69th floor of the flagship RCA building (which is now the GE building), and staged a part of a promotional campaign for the skyscraper complex. The identity of the actual photographer is a mystery as also are most of the subjects, though a number of photographers were present when this shot was taken (Charles C. Ebbets, Thomas Kelley, and William Leftwich).

The image came to symbolize American resilience and ambition at a time when this was very much in need. This photograph is the Corbis photo agency's most reproduced image. It represents an iconic emblem of the city it was taken in, instilling a romantic belief that New York is a place unafraid to tackle projects that would be too much for timider or less adventurous folk in other cities.

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A well-known image that I'm sure many of us have seen before is the famous 'Lunch atop a Skyscraper' photograph. It makes me giddy every time I look at it! Who - the men in the photograph are among the construction crew that helped to build the Rockefeller Center.

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Ellie, First year Graphics FdA student has started this blog to record her Creative Research

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History of Creative Music by the Decade
Hello, my name is Ellisha-Mae, I have never used a blog before but I am excited to show you all my research to go towards my projects in my Graphic Design Foundation Course at Northbrook Met College. 1950'sPop music started in the early 1950's in the age of Rock n Roll. With the genre of Rock on the rise and music like swing and crooning vocals from previous years slowly being replaced, Pop started to become the next big genre attracting artists like Elvis Presley in 1953 with his song 'Hound Dog'. Mitch Miller was the music producer of the 50's working with the biggest names in the industry including Johnie Ray, Frankie Laine and Guy Mitchell, this is when pop was classed as 'True Pop'.
The BBC has been running for decades but in the 1950's the age of television was born. Radio was still very popular as not many people owned a television. Early this decade the worlds largest radio soap opera called 'The Archers...

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History of Creative Music by the Decade Hello, my name is Ellisha-Mae, I have never used a blog before but I am excited to show you all my research to go towards my projects in my Graphic Design Foundation Course at Northbrook Met College.

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I thought this was interesting

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Area I: Basic Analysis of the Layers of Meaning in Ads Katherine Frith (1998) discusses a tripartite approach to reading advertising. The examples below follow her understandings of ads in "Undressing the Ad: Reading Culture in Advertising.

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found this interesting

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The Propaganda Model was developed by Edward S. Herman and Noam Chomsky, and was initially published in 1988 as the central theory of their seminal work, Manufacturing Consent: The Political Economy of Mass Media. Although not published until 1988, the Propaganda Model is situated in paradigms of the Direct Effects Theory. Its ideas are derived from the work done by Harold Lasswell on wartime propaganda, during the 1920's to the 1940's, and by Jacques Ellul on the sociological techniques of propaganda and the media, during the 1950's and 1960's.

The Propaganda Model seeks to explain how audiences are influenced and how political consent is created based upon institutional biases, pressures and constraints. It also tries to explain how dissenting views are filtered or marginalized. Herman and Chomsky's Propaganda Model posits that there are five filters that change, focus or distort the news to meet the needs of the elite, or more importantly the financially and politically powerful. As news is washed through these five filters, it is determined what events are newsworthy, how these events will be covered, where these events will be placed in the media, and how much coverage these events will receive.

The five filters of the Propaganda Model are: Ownership, Funding, Sources, Flak, and "Anti-Communism". The key to the success of the model is that mass media is comprised of profit driven organizations, and that these organizations are firmly nested or seated in the financial market. As you will see as we discuss each of the filters, without money as an influencing and driving force within the Mass Media, the Propaganda Model would be ineffective.
Ownership
The first filter is described by Herman and Chomsky as "the size, concentrated ownership, owner wealth, and profit orientation of the dominant mass-media firms" (Herman and Chomsky, 2002). Basically this just explains that large media conglomerates are owned by large corporations, who are then in-turn influenced or impacted by the policies and legislature of the government. So, these organizations are not likely to be critical of a government that supports policies that are aligned with their interests.
Funding
The second filter of the Propaganda Model is titled "advertising as the primary income source of the mass media" (Herman and Chomsky, 2002). Since the bulk of operating costs of the mass media are paid through advertising commissions, media organizations are unlikely to provide coverage or produce content that is contrary to the beliefs of their advertisers. This is compounded by the fact that similarly to the first filter, these advertising businesses rely heavily on the policies and regulations of the government.
Sources
The third filter is "the reliance of the media on information provided by government, business, and "experts" funded and approved by these primary sources and agents of power" (Herman and Chomsky, 2002). Since the cost of placing journalists everywhere would be exorbitant, media organizations rely on concentrating their personnel where news takes place or where it is announced, such as at government sponsored press forums like the White House or the Pentagon. In addition, due to vast quantity of events that take place on a daily basis, an easy solution for media organizations is to rely on press-releases or other Public Relations products, which have already been edited and tailored for media usage.
Flak
The fourth filter of the Propaganda Model is described as the use of "flak as a means of disciplining the media" (Herman and Chomsky, 2002). "Flak" is described as a negative response to a media statement or program. Flak can come in the form of complaints, lawsuits, petitions or government sanctions, and can be used to discredit organizations or individuals that do not support the "party line". Journalism is a fairly cutthroat world, so for journalists or news organizations to be labelled could mean that they do not have the same access to information.
"Anti-Communism"
Finally, the fifth filter is labelled as "Anti-Communism as a national religion and control mechanism" (Herman and Chomsky, 2002). When Manufacturing Consent: The Political Economy of Mass Media was published in 1988, it was still during the Cold War. The fear of the Soviet Union and of communism following WWII, had been cultured, amplified and exploited through various historical events from the Korean Conflict, to the Bay of Pigs to the Vietnam War. This fear of the enemy or of an "evil dictator" has been a common theme, so following the end of the Cold War this fifth filter has come to be represented by terrorism in our present post 9/11 era.

In addition to the five-filters, another key component of the Propaganda Model is the concept of "Worthy" versus "Unworthy". Herman and Chomsky's prediction is that victims of groups or individuals identified as enemies by the mass media will be labelled as "Worthy" and as such will receive more coverage. In contrast, those victimized by the government or by its allies, will receive little to no coverage as they are deemed "Unworthy". We will see examples of this as we examine the goodness of the Propaganda Model, and apply it to historical examples.

Herman and Chomsky, republished their work in 2002, with minor updates to the Propaganda Model. These updates included discussion and review of the main theory and the attached case-studies based upon three major factors: the dramatic centralization of the mass media that took place in the 1990's; the increased globalization due to the rise of the internet; and, the deregulation and reduction of budgetary pressure to support non-commercial media. All three of these factors have only helped to enhance the impact that the five filters of the Propaganda Model have on the ability of money and power to "filter out the news fit to print, marginalize dissent, and allow the government and dominant private interests to get their message across to the public" (Herman & Chomsky, 2002).
Evaluation of the Theory
The goodness of a theory can be evaluated based upon the following five characteristics: Scope, Appropriateness, Heuristic Value, Validity, and Parsimony. Based upon these criteria you will see that the Propaganda Model is still an incredibly valid and sound mass communication theory.
Scope
The Propaganda Model was based on the US Government and Media, however work has been done to show that this theory still applies to countries with similar capitalist politico-economic structures, such as Great Britain. As for its predictive power, this theory is more explanatory in nature. It helps to explain how a system can filter out news that does not support government policy and can shape these stories in favour of their message.
Appropriateness
It is incredibly logical that as news filters through the five layers that it is washed to produce information that supports those in financial and political power. It is also logical that when the Evil Dictator Saddam Hussein bombed the Kurdish people of Norther Iraq, they were "Worthy" of our media attention. However, when the Kurdish people along the Turkish Iraqi border are bombed by our NATO Ally Turkey, they are "Unworthy" of our media attention.
Heuristic Value
In May 2007, twenty years following the publication of the Propaganda Model, the University of Windsor, in Windsor Ontario Canada, held a conference titled "Twenty Years of Propaganda", focusing on the validity of the model in the digital age. To me this demonstrates that there is still work being done in this field and that Manufacturing Consent: The Political Economy of Mass Media, is encouraging new ideas and future study.
Validity
In the book Manufacturing Consent: The Political Economy of Mass Media, Herman and Chomsky use four historical examples from the Indochina Wars of the 1950s and 60s to the Central American revolutions of the 1980s to demonstrate their model. Then following the initial publication work was done to again successfully apply it to the first Gulf War and the Indonesian insurrection in East Timor. Again following its updated publication in 2002, further study has been completed to apply this model to the second Gulf War. Obviously in all of these cases the common factor is that these studies were conducted based upon the American media and government. However, similar traits can be identified when we look to examples from Canada, Britain and Australia.
Parsimony
The Propaganda Model is relatively simple to explain and understand, yet the ramifications of what it explains is far from simple. One of the keys to a parsimonious theory is that it has the least possible assumptions. The only assumption is that the Propaganda Model will work in any capitalist society.
Openness
As it is a model, there is the ability to add to it and as Herman and Chomsky discuss in their updated publication, it is adaptable which we have seen in the fifth filter being originally establish as the fear of communism, has now been adapted to involve terrorism.
Practicality
I believe that the Propaganda Model is incredibly useful in describing a very real-world phenomena that has been and continues to take place in the United States of America.
Testability
Through the various case studies completed by Herman and Chomsky, and the applications since the publication of the model, we have seen through these numerous examples its ability to explain how audiences are influenced by the mass media.
CNN - A Digital Mass Media Network
The Cable News Network (CNN) is a 24-hour American news channel. Founded in 1980 it is owned by the Turner Broadcasting System which is a subsidiary of Time Warner Inc, the world's third largest multi-media conglomerate. Often viewed as one of the leading US news broadcasters, CNN was the first all-news television channel and with 399,000 daily American viewers, it is ranked second in cable news ratings after the Fox News Channel. ( http://www.mediaite.com/tv/2014-cable-news-ratings-cnn-beats-msnbc-in-primetime-demo-fox-still-1/). CNN's reached extends far past the US boarders with its other network, CNN International. With bureaus around the globe, CNN is broadcast in over 200 countries.

Historically CNN has been on the leading edge of news reporting from the Challenger Disaster in 1986 to first Gulf War to the tragic events of September 11th, 2001. In addition, to the standard news reporting, the channel also has numerous daily and weekly news centered programs, and has made celebrities out of reporters such as Connie Chung, Wolf Blitzer, and Anderson Cooper. CNN has expanded from cable television to also being one of the most visited online news sources and used news apps. The network also posts videos of most of their reports on their YouTube channel and has expanded into radio, where it broadcasts online through the TuneIn and SoundCloud applications and by satellite via SiriusXM. In addition, CNN has an incredibly active Facebook page and Twitter feed.
Application of the Theory
CNN is a solid example of the application of Herman and Chomsky's Propaganda Model. Even though the network claims to be a neutral news source, there are numerous examples of how not only do the five filters impact the news that is reported, but that CNN themselves play a role in washing the news for other broadcasters.
Ownership & Funding
As stated earlier, CNN is owned by the Turner Broadcasting System, a subsidiary of Time Warner. In 2001 Time Warner merged with AOL for $165 billion, the largest media merger in history. Time Warner now has an incredibly diverse multi-media portfolio with their fingers in the film, television, music, print and online. Some of these include Warner Brothers, New Line Cinema, HBO, Cinemax, Comedy Central, Time magazine, Sports Illustrated, TMZ.Com, Columbia House, and Tommy Boy records to name but a few. With the heavy reliance on US broadcasting policy and legislature, Time Warner and Turner Broadcasting Systems, must be influenced by the American government and this disseminated through their various channels including CNN.
Sources
Even with the incredible span that CNN has, both its domestic and international channel(s) remain incredibly reliant on news conferences and press releases from both the public and private sector. This reliance is reinforced due to quickly spinning news cycle, which often leads to the requirement to publish what they receive without further investigation. In addition, because CNN relies heavily on freelance reporters, these correspondents are fighting to be included in these news conferences and press releases, and are fighting to have their work used by the network. Similarly to the Spiral of Silence, this often leads to these journalists not straying from the main reporting themes for fear of isolation, or more importantly being excluded from the information in the future.

In addition, to this filter impacting CNN's output, the network also plays a role as part of this filter. Because of its large geographic span of reporters, the network is often relied upon by other news sources. This means that whatever washed news product CNN is broadcasting then further disseminated by other sources.
Flak
During the research for this paper it was difficult to find examples of "Flak" being used against CNN, however there are several examples of the network firing on-air personnel because they expressed opinions that were viewed as controversial or not in-line with the mass media giant. The first example is the release of Lou Dobbs in 2009 from his network contract. As one of the original CNN broadcasters, the story was spun that the departure was amicable from the perspective of both parties, however Dobbs was known for attracting controversy especially within the last decade of his time on the channel. The second example took place in 2010, when Octavia Nasr, the twenty-year veteran of CNN's Arab Affairs desk, was fired for sending a tweet about her admiration of a Muslim Hezbollah Cleric, following his death. Without the context that Nasr is a Lebanese-Christian, that Hezbollah's political wing is part of the Lebanese government, and finally that this gentleman was a Muslim-moderate who was highly revered by millions within the Middle East, many American's might misinterpret the tweet for supporting Muslim-extremist terrorism.
"Anti-Communism"
The last example of Octavia Nasr, reinforces the perpetuation of the Muslim-Terrorist fear that has been used CNN, to gain viewership and to direct the main themes of the mass media. In addition, in 2009 Maya Arulpragasam, also known by her stage name M.I.A. conducted an hour long interview where she spoke out against the violence being committed against the Tamil people of Sri Lanka by its Sinhalese government. The Tamil's are often linked with their military wing, the Tamil Tigers, who in the eyes of the world are a terrorist organization, but in the eyes of many of the Tamil people are freedom fighters. In her interview, she used the term genocide to frame the killing of more than 70,000 people on both sides of the conflict. This interview ended up being cut down to two minutes and focused on M.I.A.'s hit single "Paper Planes". Because the US government classifies the Tamil Tigers as a terrorist organization, however as much of the slaughter can be attributed to the Sri Lankan government, CNN would never air something in contrast to the fear that the idea of terrorism portrays.
Theoretical Predictions
This is an incredibly challenging section of this paper to write, because in my mind the aim of the media should be to portray unbiased news, in order to inform the audience so that they can make their own minds up. However, in the case of CNN, because it is so deploy embedded into the Time Warner media conglomeration and their reliance on the US Government, there is no way that they can avoid the filters of the Propaganda Model. With the increased centralization of the media and reduced pressure for the government to fund non-commercial media such as National Public Radio (NPR) or the Public Broadcasting Service (PBS), the filters of Propaganda Model only become more capable.

Having followed the second Gulf War from beginning to end with much professional interest, it was quickly apparent that the news that was being broadcast on American news stations was being washed for public consumption. Compared to many of the European news networks, who were broadcasting the horror and atrocity of the conflict, here in North America, the war was being portrayed as a battle of "Good" versus "Evil". This was compounded by the idea that if you did not support the war in Iraq you were Un-American and that the idea of "Supporting the Troops" was inexplicable linked to supporting the conflict.

Following the 2008 Presidential election and the change in leadership, only then did the audience start to see the cracks in the story. The idea that weapons of mass destruction or "WMDs", were as existent as the boogeyman, and the fact that US corporations were making exorbitant sums of money in providing wartime services, yet using a third-world labor force in order to reduce costs and increase profits. Based upon these examples, my prediction is that the Propaganda Model will only become stronger, more influential and more applicable as we continue to see media conglomerates making annual profits in the billions of dollars.
Extension of the Theory
Expansion of the Propaganda Model has already begun to meet this digital age. With Google being the world's largest media owner, other digital conglomerates like Apple, Yahoo and Microsoft who are also producing and airing information and news, must now be included as part of the Ownership filter. Of course the corporations that traditionally used print, radio and television are now using the internet to advertise, so they continue to be included in the Funding filter.

Where we may see this model continue to expand is when we include the idea of who controls the infrastructure and security apparatus that supports the internet. As it stands right now it is controlled by a US based not-for profit organisation, the Internet Corporation for Assigned Names and Numbers (ICann). There are representatives from seven different nations who are members of Icann, but many of these countries wish the organization to be replaced with another more global governing body.

The fact is that the Propaganda Model continues to work even in this digital age; however, Herman and Chomsky have always said that this model only works in a capitalist environment. Countries like China and Russia have state sponsored media systems, which have demonstrated control over all forms of mass media including the internet within their borders. I would be interesting to see what the difference between the Propaganda Model and one developed on an autocratically government would be, specifically what filters are used to wash their news and make it more palatable for the masses.

References
http://www.theguardian.com/world/2012/sep/04/cnn-international-documentary-bahrain-arab-spring-repression http://touch.latimes.com/#section/-1/article/p2p-47198479/ https://play.google.com/store/apps/details?id=com.cnn.mobile.android.phone&hl=en http://www.businessinsider.com/these-6-corporations-control-90-of-the-media-in-america-2012-6 http://www.forbes.com/sites/vannale/2015/05/22/the-worlds-largest-media-companies-of-2015/ http://www.pbs.org/wgbh/pages/frontline/shows/cool/giants/aoltimewarner.html http://www.freepress.net/ownership/chart http://www.businessinsider.com/these-6-corporations-control-90-of-the-media-in-america-2012-6 http://www.nytimes.com/2010/10/02/business/media/02cnn.html?src=busln&_r=0 http://www.smh.com.au/it-pro/land-of-the-free-now-home-of-the-afraid-20100712-107sq http://www.cnn.com/2009/US/11/11/lou.dobbs.leaving/index.html?_s=PM:US http://worldwithoutgenocide.org/genocides-and-conflicts/sri-lanka http://www.thestar.com/news/world/2013/11/04/sri_lankas_hidden_genocide.html http://www.theguardian.com/technology/2014/feb/28/seven-people-keys-worldwide-internet-security-web http://www.digitalstrategyconsulting.com/intelligence/2013/05/top_30_media_companies_in_the_world_google_makes_number_one.php

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Summary of the Theory The Propaganda Model was developed by Edward S. Herman and Noam Chomsky, and was initially published in 1988 as the central theory of their seminal work, Manufacturing Consent: The Political Economy of Mass Media. Although not published until 1988, the Propaganda Model is situated in paradigms of the Direct Effects...

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Noam Chomsky explains 'sourcing' filter to incredulous young Andrew Marr...

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Noam Chomsky explains 'sourcing' filter to incredulous young Andrew Marr...

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full interview here: https://www.youtube.com/watch?v=GjENnyQupow&t=1s

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Noam Chomsky Brilliantly Stumps BBC Propagandist Andrew Marr. We are currently saving for video and editing equipment. If you enjoy our content and want to see more original work. Please consider donating here... https://www.paypal.me/bypassmainstreammedi Thank you ☺

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Noam Chomsky: The five filters of the mass media machine | The Listening Post

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Manufacturing Consent

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manufacturing consent: the political economy of the mass media (book)

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Summary of Chomsky's analyses on how the corporate media functions. Excerpt from the documentary "Manufacturing Consent: Noam Chomsky and the Media" (1992). Watch the whole thing here: https://www.youtube.com/watch?v=YHa6NflkW3Y

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Detourned BBC News item

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Royal Family / Elite Secret Pedo Network Exposed

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BBC Pushing Lies & Propaganda For The Royal Family

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BBC reports on royal family celebrations 2015

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"while satirical in nature, the video was also meant to pose further questions about the BBC's role as a public service broadcaster and its remit and responsibility to 'impartiality'. While in a less obvious way - BBC breaches of impartiality happen regularly.

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On V for Vendetta Mask

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Alan Moore has written an article for the BBC about the history and impact of the Guy Fawkes and the mask from V For Vendetta, including recent anti-Scientology and Occupy protests.

He writes, regarding the re-emergence of the mask.

It would seem that the various tectonic collapses deep in the structure of our economic and political systems have triggered waves of kinetic energy which are rolling through human populations rather than through their usual medium of seawater.

It also seems that our character's charismatic grin has provided a ready-made identity for these highly motivated protesters, one embodying resonances of anarchy, romance, and theatre that are clearly well-suited to contemporary activism, from Madrid's Indignados to the Occupy Wall Street movement.

Our present financial ethos no longer even resembles conventional capitalism, which at least implies a brutal Darwinian free-for-all, however one-sided and unfair. Instead, we have a situation where the banks seem to be an untouchable monarchy beyond the reach of governmental restraint, much like the profligate court of Charles I.

Then, a depraved neglect of the poor and the "squeezed middle" led inexorably to an unanticipated reaction in the horrific form of Oliver Cromwell and the English Civil War which, as it happens, was bloodily concluded in Northamptonshire.

Anti-ACTA protest in Warsaw V masks were a common sight at a recent anti-Acta demonstration in Poland

Today's response to similar oppressions seems to be one that is intelligent, constantly evolving and considerably more humane, and yet our character's borrowed Catholic revolutionary visage and his incongruously Puritan apparel are perhaps a reminder that unjust institutions may always be haunted by volatile 17th century spectres, even if today's uprisings are fuelled more by social networks than by gunpowder.

The full article can be read here.
(Last Updated )

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Alan Moore Talks V For Vendetta Masks To The BBC - Bleeding Cool News And Rumors

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Alan Moore has written an article for the BBC about the history and impact of the Guy Fawkes and the mask from V For Vendetta, including recent anti-Scientology and Occupy protests. He writes, regarding the re-emergence of the mask.

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Red Wedge Reappropriation

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Beat The Whites (Gray) by Yevgeniy Fiks | Paddle8

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Beat The Whites (Gray) by Yevgeniy Fiks on Paddle8. Paddle8 is a marketplace for collectors, presenting auctions of extraordinary art and objects.

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Documentary

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Looking and Finding Task

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Hip Hop History

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Ted Talk by Eli Pariser

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Our hyper-connected lives have been rewired for the digital age. These talks explore how the Internet and social media are shaping our relationships, personal lives and sense of self.

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You have JavaScript disabled For the best experience, please turn JavaScript on. Here's how Our hyper-connected lives have been rewired for the digital age. These talks explore how the Internet and social media are shaping our relationships, personal lives and sense of self.