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Comics and the World Wars

漫画和世界大战

基本信息

批准号：
AH/I022120/1
负责人：
Jane Chapman
金额：
$ 58.15万
依托单位：
University of Lincoln
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2011
资助国家：
英国
起止时间：
2011 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FI022120%2F1
关键词：
Comics World Wars

项目摘要

With the centenary of 1914-18 approaching, followed by commemoration of the 75th anniversary of the end of World War 2, these epic events will receive a high public profile worldwide. This timely project therefore asks the question: what is the contribution of the comic form to the cultural heritage of these global experiences & what different kinds of historical meaning emerge? The project research & the two major exhibitions that go with it - one on World War One comics at the Belgian Comic Strip Museum, & one on Second World War comics at London's Cartoon Museum- will emphasise to the heritage industry the potential of comics as a cultural artefact.Many people have childhood memories of comic strips and of following war stories with familiar characters on a regular basis. The comic format has now expanded from strips and magazines aimed at children, to books aimed at adults, spawning a new 'genre' of factually based stories. In France, where comics are referred to as the '9th art', a sub-genre of historical comics was sparked off by the publication of a 5 volume series depicting the journeys of an 18th century slave girl from the stormy coasts of Europe to Africa and then to the New World, all impeccably documented. It was followed by 'Paroles d'Etoiles'-the words of the star-a series of radio interviews with verbatim personal testimonials that were printed first in book form, followed by a comic book, as memories of hidden Jewish children who had fled the Holocaust & were forced to assume false identities to survive. In the UK world war stories faded into decline from the mid 1980s, whereas Francophone and Asian comics are still being produced today. So, a transnational comparative approach to WW1 & WW2 strips may reveal different aspects of each country's experience as either undefeated, or occupied lands and peoples. Comics can be for children's educative purposes, or have a political message focused upon adult audiences, or contain covert propaganda 'hidden' in children's comics, such as German 'rats' taking over Belgium in Chlorophylle (1979), originally printed in the 1950s, and a golden fascist smurf ranting Mussolini style in Schtroumpfissime (1978). Researchers are examining the kind of views that comics offer in specific aspects of world war history that usually receive less attention, such as the endangered heritage of The Great War that has become overshadowed by the popular emphasis on World War 2. Is there a unique form of insight into the harsh realities of trench warfare or in comic depictions of heroes, enemy and victims? The 'Red Baron' & 'I Flew with Braddock' are good examples of heroes whereas 'Charley's War' and 'C'était la Guerre des Tranches' depict the brutal war machine. Researchers are also investigating the relationship between creators, publisher & reader & the mutual influence upon each other, demonstrated by the long term survival of certain popular characters & formats. In addition, the project looks at ethnic issues through depictions of the Asian theatre of war as well as American black heroes, featured in the newspaper personae of 'Sergeant Joe' (1943), modelled on the boxer Joe Louis, and of 'Speedo Jaxon'. The role of women either as caring mothers or uniformed workers is being scrutinised; researchers will look at the way eye witness accounts & personal testimony interact with elements of illustrative fantasy in order to represent events that are 'un-representable' such as the Holocaust and Hiroshima. Thus this project will open up a new area of debate, drawing attention publically to the need to revisit old comics. The message is that these cultural artefacts can offer a popular record of attitudes, feelings & character types. Findings are likely to suggest that the range of cultural archives used by historians as sources should be widened to include some factualcomics & that future 'public history' (now determined by popular film & TV) should also include them.

随着1914年至1918年百年纪念的临近，以及第二次世界大战结束75周年的纪念活动，这些史诗般的事件将在全世界范围内受到公众的高度关注。因此，这个及时的项目提出了一个问题：漫画形式对这些全球经验的文化遗产有什么贡献？出现了什么不同的历史意义？该项目的研究以及与之配套的两个主要展览--一个是在比利时连环漫画博物馆（Belgian Comic Strip Museum）举办的关于第一次世界大战的连环漫画的展览，另一个是在伦敦卡通博物馆（Cartoon Museum）举办的关于第二次世界大战的连环漫画的展览--将向遗产产业强调连环漫画作为一种文化艺术品的潜力。漫画形式现在已经从针对儿童的漫画和杂志扩展到针对成人的书籍，催生了一种基于事实的故事的新“流派”。在法国，漫画被称为“第九艺术”，一个历史漫画的子流派是由一个5卷系列的出版引发的，该系列描绘了一个18世纪世纪奴隶女孩从欧洲暴风雨海岸到非洲，然后到新世界的旅程，所有这些都被记录在案。随后是“Paroles d 'Escheres”-明星的话-一系列广播采访，逐字逐句的个人证词，首先以书籍形式印刷，然后是漫画书，作为逃离大屠杀的隐藏犹太儿童的记忆，被迫采取虚假身份生存。在英国，世界大战故事从20世纪80年代中期开始逐渐衰落，而法语和亚洲漫画至今仍在制作。因此，对第一次世界大战和第二次世界大战的跨国比较方法可能会揭示每个国家作为不败或被占领的土地和人民的不同方面的经验。漫画可以是为了儿童的教育目的，或有一个政治信息集中在成人观众，或包含隐蔽的宣传“隐藏”在儿童漫画，如德国“老鼠”接管比利时在叶绿素（1979年），最初印刷于1950年代，和一个金色的法西斯蓝精灵咆哮墨索里尼风格在Schtroumpfissime（1978年）。研究人员正在研究漫画在世界大战历史的特定方面提供的观点，这些方面通常受到较少的关注，例如第一次世界大战的濒危遗产已经被第二次世界大战的流行重点所掩盖。有没有一种独特的形式来洞察战壕战的残酷现实，或者在英雄、敌人和受害者的漫画中？《红色男爵》和《我和布洛克一起飞》是英雄的好例子，而《查理的战争》和《C 'était la Guerre des Tranches》则描绘了残酷的战争机器。研究人员还在调查创作者、出版商和读者之间的关系以及相互之间的影响，这一点可以从某些流行角色和格式的长期生存中得到证明。此外，该项目还通过对亚洲战区和美国黑人英雄的描述来探讨种族问题，这些英雄在报纸上以拳击手乔·路易斯和Speedo Jaxon为原型的“乔中士”（1943年）的人物形象为特色。女性作为有爱心的母亲或穿制服的工人的角色正在受到审查;研究人员将研究目击者的叙述和个人证词与说明性幻想元素相互作用的方式，以代表“不可代表”的事件，如大屠杀和广岛。因此，这个项目将开辟一个新的辩论领域，吸引人们注意重新审视旧漫画的必要性。这些信息是，这些文物可以提供一个流行的记录的态度，感情和性格类型。研究结果可能表明，历史学家作为来源使用的文化档案的范围应该扩大到包括一些事实漫画，未来的“公共历史”（现在由流行的电影和电视决定）也应该包括它们。