One part of this story is the strong inter-play between American cartooning and other traditions in Europe & Japan. Cartoonists all over the world even in early 20th century very aware of other traditions and learning from them.
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In particular, there's a strong overlap in origins of Mad magazine & Asterix. Rene Goscinny, co-creator of Asterix, lived in New York in late 1940s-early 1950s & hung out with the future creator of Mad, Harvey Kurtzman. Here they are at French restaurant in NY in 1950 or 51.pic.twitter.com/6MRXdcr1MT
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A resonate photo because they were all obscure when it was taken but soon Kurtzman would helm Mad, Goscinny co-create Asterix & de Bevere co-create Lucky Luke. The overlap in sensibility was clean page design offset by abundance of small sight gags ("chicken fat" in Mad terms)pic.twitter.com/bM9KmbVnUK
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Anyways here's an old piece I did on minstrel imagery which touches on how it migrated around the world. Irony is that in USA it met with strong opposition from Black social movements & started disappearing in 1940s. In Europe & Japan it persisted http://www.tcj.com/racism-as-a-stylistic-choice-and-other-notes/ …
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And in Japanese Manga.
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*cough* Little Britain *cough*
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how long was Banania sold in France? is it still sold there?
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After a childhood spent with plenty of comics in the US, I remember reading my first Asterix and being baffled by the black characters with their exaggerated lips. I simply couldn't read them as depictions of humans.
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Do you know if there's a connection between minstrelry and Zwarte Piet? Only thing I can think of when I see those costumes
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That's good question. I don't know.
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