Blogger has been good to me. However as begin to demand more flexibility from my blogging experience, I begin to tire of the restrictions I find here.
With that in mind I've migrated my blog to http://cradledincaricature.wordpress.com/. First post went up yesterday > http://cradledincaricature.wordpress.com/2011/06/12/soja-geography-la-sarthe/.
Information relating to the Cradled in Caricature symposium will remain here for the meantime, though will to be migrated from 20 June onwards. And for those who are interested, the #CiC liveblog on 20 June will be simulcast between the new CiC wordpress site and @cincaricature. Exciting times!
Dr B
Monday, 13 June 2011
Wednesday, 8 June 2011
#CiC – adverts and taxonomies
One of the most exciting events taking place at Cradled in Caricature is a workshop entitled 'Create Your Own 1920s Advert'. This is to be led be two postgraduates from the School of History – Michael Kliegl and Rebecca Farmer – and will explore aesthetic, psychology and advertising in order to understand how and why advertisements are so wedded to stereotypes of character. After dividing into groups participants will be asked to make their own advertisements, and (here is the really fun bit) will be offered big pens, jumbo stick notes and boards in order to make them.
Despite there being a clear intellectual rationale behind this workshop focusing on cigarette advertising in the 1920s (see abstract here), we felt that spreading posters containing the Marlboro man around campus may have attracted some negative attention from the powers that be at the University of Kent. We therefore had to find an alternative advertising campaign that was both well known internationally and clearly associated the product in question with making people a 'better' man/woman. After some thought, the only campaign we could think of was what you see below. As Terry Norton says on Knowing Me Knowing You with Alan Partridge “people will always want to look at lovely ladies”...
Cradled in Caricature will take place on Monday 20 June, at Woolf College, University of Kent, Canterbury.
The full programme can be found here.
For inquiries or further information please contact me at cradledincaricature@gmail.com or twitter.com/cincaricature.
Despite there being a clear intellectual rationale behind this workshop focusing on cigarette advertising in the 1920s (see abstract here), we felt that spreading posters containing the Marlboro man around campus may have attracted some negative attention from the powers that be at the University of Kent. We therefore had to find an alternative advertising campaign that was both well known internationally and clearly associated the product in question with making people a 'better' man/woman. After some thought, the only campaign we could think of was what you see below. As Terry Norton says on Knowing Me Knowing You with Alan Partridge “people will always want to look at lovely ladies”...
The full programme can be found here.
For inquiries or further information please contact me at cradledincaricature@gmail.com or twitter.com/cincaricature.
Tuesday, 7 June 2011
Memory and Remembrance - Part 1: The Fallen
The second teaching aid I am creating for the British Cartoon Archive's JISC funded CARD project is a selection of cartoons on the theme of 'Memory and Remembrance'. Inspired by both the work and teaching of my colleague Dr Stefan Goebel this group looks at the reappropriation of symbols generated by heroism, conflict and loss in British cartoons.
One sub-theme within this group looks at physical and imaginative memories of 'The Fallen' and how they both shape and are manipulated by politics and culture. A taster of this work can be found below...
(c) British Cartoon Archive, University of Kent, Nicholas Garland, Daily Telegraph, 30 Apr 1985.
As Jay Winter writes, however we might wish to believe otherwise, remembrance is political. When US President Ronald Reagan visited West Germany in Spring 1985 to mark the 40th anniversary of VE Day his choice of locations (and indeed those of his host Chancellor Helmut Kohl) were consciously political, chosen to foster reconciliation by establishing the events of World War Two as a shared tragedy (these one time combatants were now, of course, allies). The itinerary however included a visit to Kolmeshohe Cemetery at Bitburg, a site at which 49 members of the Waffen SS were buried. When this was leaked to the press a huge controversy ensued (interestingly Reagan’s chief of staff, Michael Denver, had failed to notice the names on the graves on a preparatory visit due to heavy snowfall). Despite protests from Jewish Americans, Reagan pressed on with the visit and joined Kohl on 5 May 1985 to lay wreaths at a wall of remembrance.
The visit was ‘saved’ by former Nazi Luftwaffe pilot and later NATO General Johannes Steinhoff, who in an impromptu act reached and shook the hand of his former belligerent General Matthew Ridgway, commander of the 82nd Airborne during World War Two. This, alongside a well pitched speech from the ever theatrical Reagan, gained the visit unexpected credit. Garland anticipates how Reagan was expected to emerge from the Bitburg, using the exhumation of Yorick in Shakespeare’s Hamlet to mock Reagan (who famously was a Hollywood actor before turning to politics). While Hamlet touchingly remembers the court jester he once knew, Reagan turns in horror from the Nazi before him (which, as a side note, is possibly a visual quotation to the Nazi villains in Steven Spielberg’s 1981 film Indiana Jones and the Raiders of the Lost Ark, one of the highest-grossing films of the decade).
One sub-theme within this group looks at physical and imaginative memories of 'The Fallen' and how they both shape and are manipulated by politics and culture. A taster of this work can be found below...
As Jay Winter writes, however we might wish to believe otherwise, remembrance is political. When US President Ronald Reagan visited West Germany in Spring 1985 to mark the 40th anniversary of VE Day his choice of locations (and indeed those of his host Chancellor Helmut Kohl) were consciously political, chosen to foster reconciliation by establishing the events of World War Two as a shared tragedy (these one time combatants were now, of course, allies). The itinerary however included a visit to Kolmeshohe Cemetery at Bitburg, a site at which 49 members of the Waffen SS were buried. When this was leaked to the press a huge controversy ensued (interestingly Reagan’s chief of staff, Michael Denver, had failed to notice the names on the graves on a preparatory visit due to heavy snowfall). Despite protests from Jewish Americans, Reagan pressed on with the visit and joined Kohl on 5 May 1985 to lay wreaths at a wall of remembrance.
The visit was ‘saved’ by former Nazi Luftwaffe pilot and later NATO General Johannes Steinhoff, who in an impromptu act reached and shook the hand of his former belligerent General Matthew Ridgway, commander of the 82nd Airborne during World War Two. This, alongside a well pitched speech from the ever theatrical Reagan, gained the visit unexpected credit. Garland anticipates how Reagan was expected to emerge from the Bitburg, using the exhumation of Yorick in Shakespeare’s Hamlet to mock Reagan (who famously was a Hollywood actor before turning to politics). While Hamlet touchingly remembers the court jester he once knew, Reagan turns in horror from the Nazi before him (which, as a side note, is possibly a visual quotation to the Nazi villains in Steven Spielberg’s 1981 film Indiana Jones and the Raiders of the Lost Ark, one of the highest-grossing films of the decade).
Subscribe to:
Posts (Atom)