Comics and the World Wars
Lead Research Organisation:
University of Lincoln
Department Name: School of English and Journalism
Abstract
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.
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.
Planned Impact
2 major exhibitions are planned, each featuring our 4 research themes as they relate to that war.
a) 1WW Centenary Exhibition in partnership with the Belgian Comic Strip Center during 2014-18 at their premises in the centre of Brussels, to include original drawings donated by archive suppliers Egmont & Titan publishers.
b) 2WW 75th Anniversary in partnership with The Cartoon Museum, London, 2015, at their premises adjacent to the British Museum, to include original drawings from archive supplier DC Thomson.
1. Beneficiaries:
*commercial private sector- comic festival organisers, publishers, specialist comic archive vendors (shops and internet).
*government agencies- councils & arts organisations such as the Brussels Tourist Office, the heritage industry connected with the world wars, e.g. D Day museums,1WW battlegrounds, war grave sites & other heritage locations.
*charities & interest groups such as The British Legion & the various 'federations d'anciens combatants' in Francophone countries.
*archive holders & libraries who can display posters & leaflets about the event, & use it to propagate information about their own comic holdings.
*other comic museums: MoCCA in New York & The Basle Museum of Comic Art for ideas on the content, display techniques & the collaboration between curators and academic experts.
*wider comic public: amateur collectors & enthusiasts, people interested in the heritage of comics, collectors of childhood memorabilia, comic 'buffs'.
*members of the public interested in public history depictions of The Great War & World War.
2. Impact timescales:
*Immediate for contact with archive holders- researchers will search for original drawings to be displayed in the exhibitions from day one.
*2013 onwards for promotion of the exhibitions, including work by the Brussels Tourist Office.
*2014-18: the 1WW exhibition itself, with a press launch at the Comic Strip Center. The displays will appear alongside a series of other events at different points in the 4 year calendar.
*2014:the start of promotion of the 2WW London exhibition.
*2015 for the 2WW exhibition itself in London.
3. Users' benefit:
a) the general public interested in the world wars who attend the exhibitions. Amongst London's smaller museums, The Cartoon Museum is the most visited. The Brussels venue (Europe's biggest comic centre) receives 200,000 visitors a year, many of whom are families.
b) people with an interest in childhood memorabilia & comics will also attend the exhibitions.
c) other museum & heritage industry stakeholders who will gain ideas for the use of comics as cultural artefacts & graphic display, e.g. how to juxtapose examples of reality such as photo archives with comic representations on the same theme.
d) the Brussels Tourist office supporting the 1WW exhibition will gain anglophone (UK, British empire & US) content that will enhance an important cultural event for promotion to international visitors, extending the event's PR reach.
e) trans-national benefits are accrued as part of the working relations between 2 national museums, & publisher archive holders as project partners - an interesting model for other scholars & heritage stakeholders.
f) vendors of old comics (shops & internet) can advertise in exhibition catalogues.
g) festival organisers (e.g.Angoulême annual comic festival, ComicFest in London, MoCCA in NY) , publishers of comics & comic books (we have already researched 32 in the US) will all be able to advertise in the exhibition catalogue & also gain creative ideas.
4. Transferable skill: the team will gain-
*additional experience of exhibitions & of working with non-academic stakeholders
* design & display skills
* journalistic skills for writing simple, short display captions, summaries & catalogue information
* more technic
a) 1WW Centenary Exhibition in partnership with the Belgian Comic Strip Center during 2014-18 at their premises in the centre of Brussels, to include original drawings donated by archive suppliers Egmont & Titan publishers.
b) 2WW 75th Anniversary in partnership with The Cartoon Museum, London, 2015, at their premises adjacent to the British Museum, to include original drawings from archive supplier DC Thomson.
1. Beneficiaries:
*commercial private sector- comic festival organisers, publishers, specialist comic archive vendors (shops and internet).
*government agencies- councils & arts organisations such as the Brussels Tourist Office, the heritage industry connected with the world wars, e.g. D Day museums,1WW battlegrounds, war grave sites & other heritage locations.
*charities & interest groups such as The British Legion & the various 'federations d'anciens combatants' in Francophone countries.
*archive holders & libraries who can display posters & leaflets about the event, & use it to propagate information about their own comic holdings.
*other comic museums: MoCCA in New York & The Basle Museum of Comic Art for ideas on the content, display techniques & the collaboration between curators and academic experts.
*wider comic public: amateur collectors & enthusiasts, people interested in the heritage of comics, collectors of childhood memorabilia, comic 'buffs'.
*members of the public interested in public history depictions of The Great War & World War.
2. Impact timescales:
*Immediate for contact with archive holders- researchers will search for original drawings to be displayed in the exhibitions from day one.
*2013 onwards for promotion of the exhibitions, including work by the Brussels Tourist Office.
*2014-18: the 1WW exhibition itself, with a press launch at the Comic Strip Center. The displays will appear alongside a series of other events at different points in the 4 year calendar.
*2014:the start of promotion of the 2WW London exhibition.
*2015 for the 2WW exhibition itself in London.
3. Users' benefit:
a) the general public interested in the world wars who attend the exhibitions. Amongst London's smaller museums, The Cartoon Museum is the most visited. The Brussels venue (Europe's biggest comic centre) receives 200,000 visitors a year, many of whom are families.
b) people with an interest in childhood memorabilia & comics will also attend the exhibitions.
c) other museum & heritage industry stakeholders who will gain ideas for the use of comics as cultural artefacts & graphic display, e.g. how to juxtapose examples of reality such as photo archives with comic representations on the same theme.
d) the Brussels Tourist office supporting the 1WW exhibition will gain anglophone (UK, British empire & US) content that will enhance an important cultural event for promotion to international visitors, extending the event's PR reach.
e) trans-national benefits are accrued as part of the working relations between 2 national museums, & publisher archive holders as project partners - an interesting model for other scholars & heritage stakeholders.
f) vendors of old comics (shops & internet) can advertise in exhibition catalogues.
g) festival organisers (e.g.Angoulême annual comic festival, ComicFest in London, MoCCA in NY) , publishers of comics & comic books (we have already researched 32 in the US) will all be able to advertise in the exhibition catalogue & also gain creative ideas.
4. Transferable skill: the team will gain-
*additional experience of exhibitions & of working with non-academic stakeholders
* design & display skills
* journalistic skills for writing simple, short display captions, summaries & catalogue information
* more technic
People |
ORCID iD |
| Jane Chapman (Principal Investigator) |
Publications
Chapman J
(2018)
Illustrating war-time: Cartoons and the British and Dominion soldier experience during the Great War, 1914-1918
in War in History
Chapman J
(2015)
The Aussie 1918-1931 Cartoons, digger remembrance and First World War identity
in Journalism Studies
CHAPMAN J
(2011)
Representation of female war-time bravery in Australia's Wanda the War Girl
in Australasian Journal of Popular Culture
Chapman J
(2018)
African and Afro-Caribbean Repatriation, 1919-1922
Chapman J
(2014)
Dominion Cartoon Satire as Trench Culture Narratives: Complaints, Endurance and Stoicism
in The Round Table
Chapman J And Ellin D
(2015)
The British Empire and the First World War
Chapman Jane L.
(2015)
Comics and the World Wars: A Cultural Record
Chapman Jane L.
(2019)
Early Black Media, 1918-1924: Print Pioneers in Britain
Chapman Jane L.
(2015)
Comics, the Holocaust and Hiroshima
| Description | +This interdisciplinary, trans-national study has broken new ground by recuperating previously unknown and neglected comic strips (both commercially published and privately illustrated by amateur soldiers). +It has demonstrated how these sources can be used for the study of both world wars by historians and other academics. + Findings have acted as an indicator of nuanced personal issues and ideas relating to the world wars. +Findings provide a cultural record of Home Fronts in the United States, United Kingdom, Australia and Canada, particularly relevant to women's history and labour history. + As such, the findings cross national, geographical and theoretical boundaries and the project has drawn attention to texts generally ignored by scholars of history and comic art. +The project monograph, 'Comics and the World Wars: A Cultural Record' develops a methodological approach to the analysis of comics as an historical, cultural record. This methodology has advanced scholarship by outlining a number of categories for the study of comics as historical sources: Subjectivity Metaphorical aptness Dynamic record Mentalities Verisimilitude +The project has revealed how sequential illustrated narratives act as an historical, cultural record by: -Offering a barometer for contemporary popular thinking. -Using humour as a coping mechanism and a way to criticise authority. -Promoting certain forms of behaviour and discouraging others. -Representing a deliberately inclusive educational strategy for reading and disseminating wartime content, particularly by the American government during the latter conflict. +The study has also exhibited how comics reflect the collective needs of varying social organisations and groups and reveal political and commercial organisations' specific messages and ideology during periods of total war. +In particular the project has presented close-readings of more obscure artists such as W.K. Haselden, artists from the left-wing press in America and Australia, and soldier artists from trench newspapers. + The above in-depth studies have provided insights into some of the mentalities of total war, and of everyday life. + The publication 'Comics, the Holocaust, and Hiroshima' has broken new ground by arguing that comics have a triple role as sources of cataclysm between 1939 and 1945 and as testimony to Holocaust awareness, childhood trauma and emotions. + In short, this part of the grant project has posited comics as an agent to build on the scholarship of new cultural history, historiography, memory and trauma studies. |
| Exploitation Route | + Scholars can use, build upon and develop the methodology and findings published in both the monograph publication 'Comics and the World Wars: A Cultural Record' and the publication 'Comics, the Holocaust, and Hiroshima'. + This publication has demonstrated a new methodology based on close readings, but cross-referenced with other historical sources and - specifically - within the framework of new cultural history. + As such, comics produced at the time of the world wars provide an invaluable source of historical information that elucidates nuanced elements of the culture and society of which they are products. +The study has made a pioneering contribution to the studies of print, labour, gender and new cultural history and the expanding field of humour studies. + Its focus on home front and front-line comics has drawn attention to texts previously ignored by scholars of history and comic art. By arguing for the significance of these texts, such as 'Wanda the War Girl' in connection with gender, the study has opened the door for further research in each of these fields. +The study has also argued for comics as a rich source of insight into everyday lives and mentalities across the English-speaking world in times of warfare and added these texts to the repertoire of sources that inform commemorative activities in the twenty-first century. + Scholars also can build upon the numerous engagement activities that have resulted from this project, particularly those conference talks and round-table discussions that are available internationally via the web on Youtube, Tedtalks and the Library of Congress. (NB: The URL attached to this page is only one such instance of these engagement activities). As a consequence of this project the findings are currently in the process of being taken forward in connection with the activities of the Everyday Lives in War Engagement Centre and the Centre for Hidden Histories. + Most importantly, this project has developed and demonstrated a methodological approach to the analysis of comics as an invaluable and underprivileged historical and cultural record. + It has also analysed for the first time, a range of sources previously unknown to scholarship such as the amateur, soldier illustrated comics printed within the trench publications of the First World War. Scholars working on the Centenary and other allied research are already showing awareness of the importance of these findings and considering potential connections with existing historiography. |
| Sectors | Creative Economy,Leisure Activities, including Sports, Recreation and Tourism,Culture, Heritage, Museums and Collections |
| URL | https://www.youtube.com/watch?v=BoIVakFpVkQ |
| Description | exhibitions, public talks, public meetings and by community grouops |
| First Year Of Impact | 2014 |
| Sector | Creative Economy,Leisure Activities, including Sports, Recreation and Tourism,Culture, Heritage, Museums and Collections |
| Impact Types | Cultural,Societal |
| Description | Everyday Lives in War: First World War Engagement Centre |
| Amount | £644,654 (GBP) |
| Funding ID | AH/P00668X/1 |
| Organisation | Arts & Humanities Research Council (AHRC) |
| Sector | Public |
| Country | United Kingdom |
| Start | 01/2017 |
| End | 12/2019 |
| Description | Everyday Lives at War Centenary Commemoration Centre |
| Organisation | University of Hertfordshire |
| Country | United Kingdom |
| Sector | Academic/University |
| PI Contribution | PI Prof. Jane Chapman (and one of her ECR team) became a CI for the above Centenary Commemoration Centre for stages 1 and 2 of further AHRC /HLF funding |
| Collaborator Contribution | We conducted original research in the South Lincs area, as collaboration with community groups, producing a free booklet for distribution amongst the general public. |
| Impact | 2 monographs, with research funded by 2 Centenary Centres |
| Start Year | 2014 |
| Description | Comics Forum |
| Form Of Engagement Activity | A magazine, newsletter or online publication |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | Blog on the Comics Forum website describing the project by the RA. Further collaboration with Comics Forum. PI invited to give keynote at annual conference. |
| Year(s) Of Engagement Activity | 2014 |
| URL | http://comicsforum.org/2014/01/30/comics-and-the-world-wars-a-cultural-record-by-anna-hoyles/ |
| Description | Comics and the World Wars: A Cultural Record, Humanities Research Away Day Sheffield Hallam University |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Local |
| Primary Audience | Supporters |
| Results and Impact | Talk motivated academic staff to further identify impact The Head of Humanities Research Centre told me 'I enjoyed both your talks and thought they expanded our horizons a bit, as well as giving us useful ideas about grants and impact. ' |
| Year(s) Of Engagement Activity | 2015 |
| Description | Gullible Worker conference paper |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Other academic audiences (collaborators, peers etc.) |
| Results and Impact | Paper given by RA, 'The "Gullible Worker" Comic Strip and the First World War', at the international and interdisciplinary conference 'Objections to War: Pacifism, Anti-interventionism and Conscientious Objection in Literature, Theatre and Art, 1830-1918' at the University of Hull. Several questions were asked afterwards about the subject of the talk (First World War trade union comic strips) and about the project as a whole. I was asked to recommend subject matter for teaching primary school children. |
| Year(s) Of Engagement Activity | 2014 |
| URL | http://www2.hull.ac.uk/fass/english/news-and-events/events/conferences/objections-to-war-conference/... |
| Description | Humour as History - Soldier Cartoons from the Trenches, Macquarie University, 5 March 2015 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | Audience questions and feedback afterwards. Particular interest from the Chinese community in Sydney who attended, some of whom translated the cartoons and comics on display in the exhibition. The audience were asked to fill in feedback cards. Feedback included audience members: * Being inspired to find out more on the topic and their own family history ('In never knew that newspapers were produced at the front. It has inspired me to find out more about my grandfather's WWI experiences') * Asking for more information on the project * Reporting a change in the way they viewed the war and cartoons/comics and having a better understanding of the latter (will 'renew reading about 'causes' of WWI'. 'I definitely want to pursue further reading in the area of wartime humour') * Widening their own field of research ('will pursue themes of how enemies were depicted') * Viewing humour in a different way ('this lecture illustrated for me the conscious use of [humour] by the military hierarchy. A valuable insight') Plans were also made for future related activity |
| Year(s) Of Engagement Activity | 2015 |
| URL | http://publicengagement.blogs.lincoln.ac.uk/2015/03/02/world-war-1-comics-now-on-show-in-australia/#... |
| Description | Humour as History? Soldier Cartoons and the First World War, Cambridge University Library, 13 September 2014 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Public/other audiences |
| Results and Impact | Audience members were given a postcard to fill in afterwards, giving their thoughts on World War One (and the talk). There were some extremely interesting reflections - feelings, thoughts about history, the event, commemoration, the need for future peace, their own families' and ancestors participation, etc. Cambridge University Library forwarded copies of all the feedback postcards. The event was part of Open Cambridge Week, an annual event giving public access to buildings, spaces and institutions not normally available to them. An audience member offered his services as a future speaker/author on one of his biographies at public talks that Prof Chapman organises. This was acted upon and a public talk on the life and work of economic historian C.J. Fay was held on 2 Dec. 2014 at Wolfson College. A small boy and father brought along an original cartoon (given to him by his grandmother) and asked for an Antiques Roadshow style appraisal. They undertook to do further research on the origins. Another couple asked for further information about certain events and military regiments. Two people from voluntary organisation PeaceQuest in Canada invited Prof Chapman to do a speaking tour in their country in Sept. 2016, on the same topic. This is likely to include talks at Kingston Ontario and Toronto. |
| Year(s) Of Engagement Activity | 2014 |
| URL | http://www.wolfson.cam.ac.uk/news/humour-history-soldier-cartoons-and-first-world-war |
| Description | NNCORE Conference, Oslo |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Other academic audiences (collaborators, peers etc.) |
| Results and Impact | Questions afterwards Requests for information about our project publications |
| Year(s) Of Engagement Activity | 2015 |
| URL | http://www.nncore.com/index.php?mact=News,cntnt01,detail,0&cntnt01articleid=116&cntnt01origid=60&cnt... |
| Description | POW Cartoons Exhibition, south Lincolnshire |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Local |
| Primary Audience | Public/other audiences |
| Results and Impact | The small collaboration research grant on POWs in south Lincolnshire recently exhibited their findings at an event hosted by the local golf course. The exhibition was organised by leading members of the CBPR community partner group, the Long Sutton and District Civic Society and was successfully attended by over 150 members of the public. Three members of the academic research team travelled from Lincoln to the Norfolk border in south Lincolnshire for the event. The findings and primary source materials were displayed as a series of posters and a full colour pamphlet was distributed. Public comments and feedback on the event were overwhelmingly positive, with many taking the opportunity to engage in discussion about the research process with members of the team and the Civic Society, sharing stories of their own family history and knowledge about local home front life during the First World War. Additionally, the event included a guided tour of the golf course grounds that encompass some of the key structures related to both First and Second World War heritage connected with the local area. This incorporated the warehouse of the former docks in which, the team believes, the POWs were billeted. The exhibition was considered so successful that the Civic Society voiced the intention to repeat the poster exhibition at a subsequent public engagement event at the local Parish Council. |
| Year(s) Of Engagement Activity | 2017 |
| Description | Smile when Suffering: Cartoons from the Trenches 1914-18, Wolfson College Lunchtime Lecture series, 23 October 2013 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | Questions and discussion afterwards. In particular about soldier humour and how it differed from Home Front propaganda One person asked how he could exhibit his grandfather's letters. Another audience member, doing a PhD on Cartoons, asked for help with ideas. |
| Year(s) Of Engagement Activity | 2013 |
| Description | The Inside Story, TEDxHull, 23 April 2013 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | A YouTube video of the talk is online and continues to be viewed, as of 13 August 2015 it has had 364 hits. Pictures of the talk on flickr http://www.flickr.com/photos/tags/TEDxHull Video recording of the talk, in front of a large fee paying audience, mid week in at the Hull Truck Theatre, can be watched on the TED channel and You Tube. See below. Deborah Dyson, organiser TEDx Hull : 'We've had such great feedback and positivity from the city and we just know that the audience members are looking forward to your talk.' A number of different media producers have viewed the YouTube video prior to booking Prof. Chapman - most recently from Channel 5 for a series being transmitted in 2016. |
| Year(s) Of Engagement Activity | 2013 |
| URL | https://www.youtube.com/watch?v=zlUe1P8K7vY |
| Description | Trench Talk at Chichester Festival |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Public/other audiences |
| Results and Impact | Prof. Jane Chapman, University of Lincoln, and Prof. Ross Wilson, University of Chichester, gave a talk as part of the Chichester Festival discussing the importance of trench newspapers. The key focus areas of this talk were the topics of humour and morale during the First World War. The talk took place after the theatre production of The Wiper's Times, on the same stage and utilising the same scenery. The event included an opportunity for the audience to see archive material and to ask the panellists questions about the impact of satire from the trenches. Chichester Festival organisers collected feedback and responses via email from the audience of around 150 people. The feedback gathered indicated positive changes in views and opinions as a result of the event. |
| Year(s) Of Engagement Activity | 2017 |
| Description | Unspoken Violence: Redefining Cultural Record, Comics Forum Leeds, 13 November 2014 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Supporters |
| Results and Impact | Questions afterwards Discussed the talk with audience members afterwards |
| Year(s) Of Engagement Activity | 2014 |
| Description | Visby keynote |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Study participants or study members |
| Results and Impact | Future publication Further relations with scholars from other European countries. |
| Year(s) Of Engagement Activity | 2015 |
| URL | http://anslag.rj.se/en/fund/50924 |
| Description | Visual Satire and Australian Identity, 1914-18, Macquarie University, 19 February 2015 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | Questions and discussion afterwards A lot of interest from the Chinese community Audience filled in feedback cards - they reported that they had been inspired: *To read more on the subject (e.g. 'Must find out more about comic formats, 'types' of humour too!' 'I realised I have a very limited knowledge of world history and international relations [...] I would certainly read more') *To expand their own area of research (e.g. 'exploring the nature of soldier humour in ancient Rome through extant plays' and 'will attempt to look at original material for N2EF and AIF' and to do research about 'a Japanese animation producer') *To attend other similar activities ('would like to attend other activities such as art gallery' *To pursue other activities such as drawing and poetry (e.g. 'Maybe I should draw more? the messages are so much quicker in pictures') |
| Year(s) Of Engagement Activity | 2015 |
| URL | http://www.arts.mq.edu.au/news_and_events/events/university_events/public_lecture_-_visual_satire_an... |
| Description | conference paper |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Study participants or study members |
| Results and Impact | Presentation entitled ' Social movement comic strips as citizen's journalism, humour and cultural record'. Event was ' World War 1: Media, entertainment and popular culture' at Chester University |
| Year(s) Of Engagement Activity | 2015 |
| URL | https://everydaylivesinwar.herts.ac.uk/?p=746 |