The Art of the Funnies: An Aesthetic History (Studies in Popular Culture (Paperback))

By Robert C. Harvey

This paintings examines the sketch all through its background for the weather that make cartoons some of the most beautiful of the preferred arts. The sketch was once created through rival newspapers as a tool of their stream battles. It speedy confirmed itself as not just an efficient equipment, but additionally as an establishment that quickly unfold to newspapers world-wide. This ancient research unfolds the historical past of the funnies and divulges the delicate artwork of the way the strips combination notice and images to make their influence. The ebook additionally reveals new info and weighs the impression of syndication upon the medium. Milestones within the paintings of cartooning featured contain: Mutt and Jeff, Dick Tracy, Tarzan, Flash Gordon, Popeye, Krazy Kat, and others. more moderen classics also are integrated, similar to Peanuts, Tumbleweeds, Doonesbury and Calvin and Hobbes.

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Page 140 Figure 76. Here's how Caniff drew himself in the early 1940s; the caricatures of his characters in  the background were drawn by Ray Bailey, one of his assistants at the time. ligent, courteous, charming, occasionally witty, and gallant (not to mention resourceful and courageous). Ryan is a free­lance writer—a vagabond really, a soldier of  fortune. And there is about him the air of a man with a past, a man who has knocked around the world a bit. Tall, dark, handsome—and mysterious—Ryan, in the  strip's most pervasive cliché, is fated to be absolutely irresistible to women.

McManus was not unique in producing a variety of comic strips for his newspaper. Other early cartoonists did the same, creating features on impulse; some of them  lasted only a few days or      Page 50 weeks before giving way to yet another inspiration of the moment. Many of these features appeared as aspects of a sort of daily or weekly anthology of graphic  humor. Billy Ireland at the Dispatch in Columbus, Ohio, for instance, did a weekly page called The Passing Show, in which he presented a miscellaneous array of  panel cartoons on various subjects.

Caniff and their married life in the big city also inspired  cartoons when Caniff changed Gilfeather to The Gay Thirties, a panel cartoon of contemporary gags (above and right). Page 142 comrades, already on the scene, are immediately in the midst of the hostilities. Pat Ryan joins the U. S. Navy; Connie, the Chinese resistance; Terry, the U. S. Air  Corps, where he is taught to fly by the picturesque Flip Corkin, a wise­cracking flyboy Caniff patterned after a college chum and real­life war hero, Philip Cochran.

Finally, Patterson took notice of them and said, 'I think you can do a  Sunday page. ' He took six cartoons. One was a cop strip. After about six weeks, he called me up to his office and said, 'I don't think that strip is the one for you. What I'd like to have you do is a cowboy strip. '" "Patterson loved cowboys," Johnson continued. "He went to every cowboy picture that ever came out. And so he had me do Texas Slim and Dirty Dalton. He  named them. He named all the comics. It ran for a couple years. Patterson was still nuts about cowboys, and he went out to Wyoming to be on a ranch one time.

With rousing songs and high­kicking chorus  lines, musicals inspired people newly stirred by Franklin Roosevelt's confidence and his actionoriented administration. In the same spirit, Walt Disney urged the country  to scoff at fear by teaching everyone to sing "Who's Afraid of the Big Bad Wolf,"the hit song of his 1933 production The Three Little Pigs. Audiences came away from movies with their attitudes reinforced: these productions emphasized the values of the day. In musical after musical—in movie after  movie—rich businessmen are portrayed as greedy and self­serving villains, who are redeemed only when they give up their wicked ways and adopt the homey values  of ordinary people.

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