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The mental health of the population has deteriorated as a result of the COVID-19 pandemic. It has been shown that people with mental illnesses face discrimination and stigma. In this context, communication is an essential tool to make these illnesses more visible and, in particular, cartoons can play an important role. In this paper we analyze 317 cartoons dealing with mental health. We compared the cartoons published before and during the pandemic to see if there were any changes, if stigma was reduced and if journalistic good practice guidelines were applied to the cartoons. The data suggest that more attention has been paid to mental health issues during the pandemic, although many stereotypes and bad practices still dominate the cartoons. Furthermore, graphic humor proves its value as a tool for analyzing current affairs and can also be used to raise awareness of mental health issues., La salud mental de la población se ha agravado como consecuencia de la pandemia de COVID-19. Se ha demostrado que las personas con enfermedades mentales se enfrentan a la discriminación y el estigma. En este contexto, la comunicación es una herramienta esencial para hacer más visibles estas enfermedades y, más concretamente, las viñetas pueden desempeñar un papel relevante. Este artículo analiza 317 viñetas sobre salud mental. El estudio compara las viñetas publicadas antes y durante la pandemia para ver si hubo cambios, si se redujo el estigma y si se aplicaron directrices de buenas prácticas periodísticas a las viñetas. Los datos sugieren que se ha prestado más atención a los problemas de salud mental durante la pandemia, aunque muchos estereotipos y, por tanto, malas prácticas siguen predominando en las viñetas. En resumen, el humor gráfico demuestra su valor como herramienta de análisis de la actualidad y también como elemento para concienciar sobre los problemas de salud mental. &nbsp

In 1944, Walt Disney launched the Reading for the Americas project, an ambitious plan for literacy in Latin America promoted by the Office of the Coordinator of Internal Affairs (OCAIA), which tries to solve the idea of goodwill and neighborhood proclaimed by the United States in middle of war.This article aims to document an almost unknown chapter in this adventure: the organization of the I Seminar on Visual Education, which was designed from the Disney studios in Hollywood, outlined based on the Mexican experience and a precursor to initially literate adults of all of Latin America through the use of 16mm cinema.Through the compilation of specialized archives in Mexico and based on a chronological follow-up of the activities that took place in said seminar, two paradigms raised at this meeting became triggers for the failure of the Disney project and its implementation in the American continent: teaching methodologies and projection without a proper understanding of what that region really was, coupled with political propaganda that was tried to filter by any means in all areas., En 1944, Walt Disney emprendió el proyecto Reading for the Americas, ambicioso plan para la alfabetización de América Latina impulsado por la Oficina del Coordinador de Asuntos Inter Americanos (OCAIA), que intentaba reforzar la idea de la buena voluntad y vecindad pregonada por Estados Unidos en medio de la guerra. Este artículo tiene como objetivo documentar un capítulo casi desconocido en esta aventura: la organización del I Seminario de educación visual, el cual fue diseñado desde los estudios Disney en Hollywood, esbozado con base en la experiencia mexicana y precursor para alfabetizar en principio a adultos de toda América Latina por medio de la utilización del cine de 16 mm. A través de la recopilación de archivos especializados en México y Estados Unidos, y fundamentado en un seguimiento cronológico de las actividades que se desarrollaron en dicho seminario, dos paradigmas planteados en esta reunión se convirtieron en detonantes del fracaso del proyecto de Disney y de su puesta en práctica en el continente americano: las metodologías de enseñanza y la proyección sin la debida comprensión de lo que en realidad era América Latina, aunado a la propaganda política que se intentó filtrar en todos los ámbitos sociales por todos los medios posibles.

This research elaborates on utilization of cartoons as a tool of religious instruction for children. Cartoons can be used as an instrument for children’s mental development because a child’s mind is like a plain slate, what you write leaves a long-lasting impact. Cartoons have become a favorite activity of children and they spend most of their leisure time on watching cartoons. Children’s interest in cartoons also impacts their mind according to the content and concept of cartoons. For this aim, cartoons with religious instructions were shown to children and interview of some children’s parents and teachers were done in Sheikhupura. The data collected from the observations and interviews done qualitatively for this research shows that cartoons are a very effective source of religious instruction for children. Children not only understand these instructions easily but also try to follow them.

This article examines cartoons reflecting rural North China created by Chinese collaborationist artists during the Second Sino-Japanese War. I argue that these cartoons showcased a transition in the discourse of rural modernisation. I examine the image of Japanese-occupied rural North China from the perspectives of cultural history and visual culture studies. Analysing cartoons by northern Chinese collaborationist cartoonists, I delineate the transformation of the image of rural North China before and after 1937 and present the process in which rural North China was reconceptualised, reshaped, and visualised by pro-Japanese propaganda after 1937.

Intertextuality, which can be defined as the interrelationship between texts, can appear anywhere, from an informal conversation among friends to manifestations of literature or cinema. However, its use is normally intentional, and translators should have the tools to detect intertextuality and transfer these references so that the target audience and the original audience are on an equal footing. This article explores intertextuality in the dubbing of audiovisual productions, where references to other productions and characters are constant. Our research is based on the study of two seasons of the animated TV series Family Guy dubbed in Spain, as well as on previous research on this topic. We seek to both determine which intertextual signs (Hatim and Mason 1990, 174) may help audiovisual translators in the detection stage and to develop an integrated method to help them carry out the challenging translation process., La intertextualidad, que puede definirse como una interrelación entre textos, puede aparecer en cualquier parte, desde una conversación informal entre amigos, hasta cualquier manifestación del cine o la literatura. Sin embargo, su uso suele ser intencionado y los traductores deben tener las herramientas para poder detectar la intertextualidad y trasladar las referencias para que la audiencia meta esté en igualdad de condiciones que la original. Este artículo explora la intertextualidad en el doblaje de producciones audiovisuales, donde las referencias a otras producciones o personajes son constantes. Nuestra investigación se basa en el estudio de las dos primeras temporadas de la comedia de animación Family Guy (Padre de familia) dobladas al español, así como en investigaciones previas sobre este tema, con el doble objetivo de descubrir qué señales intertextuales (Hatim and Mason 1990, 174) pueden ayudar a los traductores en la fase de detección, y de desarrollar un método que les ayude a enfrentarse al complejo proceso de traducción.

During the War of Resistance against Japan (1937–1945), cartoons constituted an important type of cultural production in Japanese-occupied China. Most scholar-ship focuses on the political stances shown in such cartoons. However, this article explores Chinese cartoons that seldom directly addressed political issues in wartime North China. In 1935, Zhang Guangyu created the first Folk Love Songs cartoon, which has been seen as representative of Sinicized cartoons, emphasizing the national characteristics shown in Chinese folk culture. With changes in formal and ideological matters, Folk Love Songs cartoons continued to appear in Japanese-occupied North China, featuring quotidian topics. This article argues that, by visualizing everyday life, Folk Love Songs cartoons displaced and de/politicized (depoliticized and simultaneously repoliticized) the national characteristics embedded in prewar Sinicized cartoons. The motif showcases the complexity of wartime cultural production that was not totally occupied by political propaganda. © 2023 Twentieth Century China Journal, Inc.

What do you want to do ? New mailCopy, Arab political cartoons arose in the 19th century in the Arab renaissance movement, known as Nahḍa (the awakening). But it was not until the 1990s, with the Gulf War, when political cartoons were consolidated as having a preponderant role in transmitting information and opinions. This evolution crystalized with the Arab Revolutions in 2011 as they became an art of resistance thanks to the use of the internet and new social networks, such as Facebook and Twitter. From a religious perspective, Arab and Muslim cartoonists have criticized significant aspects of Islam. Cartoons represent social and political criticism, but religion has been analysed as a crucial aspect of society. In this context, the objectives of this research are: (1) to give a brief overview of the development of Arab political cartoons; (2) to analyse how cartooning became a form of communication in the Arab world; and (3) to observe the impact of cartoons on Arab societies as they deal with any social issues, including religion. Consequently, a qualitative methodology has been developed while a historical and contextual method has been developed to establish a process of analysis and synthesis. Moreover, an ethnographic visual method has been used to observe and analyse the sample of selected cartoons articulating a leitmotif of humour which focuses on society and religion. On balance, the results of this research suggest that cartoons are an extremely powerful tool to analyse social problems. As a matter of fact, religion should not be a problem on the grounds that there is no prohibition in the Qur'an to prohibit any representation of critics with regard to religion. Hence, Islam might well be considered a social aspect which should be questioned and analysed as it us a social behaviour that that influences many aspects of the daily lives in the Arab and Muslim world., Las caricaturas árabes surgieron en el siglo XIX en el movimiento conocido como Nahḍa (el despertar), pero no fue hasta la década de los noventa, con la Guerra del Golfo, cuando se consolidaron cobrando un papel preponderante en la transmisión de información y opiniones. Esta evolución cristalizó con las Revoluciones Árabes de 2011, que las convirtieron en un arte de resistencia gracias al uso de Internet y las nuevas redes sociales, como Facebook y Twitter. Desde una perspectiva religiosa, los caricaturistas árabes han criticado aspectos importantes del islam. Estos dibujos representan la crítica social y política, pero la religión se ha analizado también como un aspecto crucial de la sociedad. En este contexto, los objetivos de esta investigación son: (1) dar una breve descripción del desarrollo de las caricaturas árabes; (2) analizar cómo el uso de estos dibujos se ha convertido en una forma de comunicación en el mundo árabe; y (3) observar el impacto de las caricaturas en las sociedades árabes en relación a cualquier problema social, incluido la religión. En consecuencia, se ha desarrollado una metodología cualitativa a la vez que se ha llevado a cabo un método histórico y contextual para establecer un proceso de análisis y síntesis. Además, se ha empleado un método visual etnográfico para observar y analizar la muestra de caricaturas seleccionadas articulando un leit motiv del humor que se centra en la sociedad y la religión. En definitiva, los resultados esperados en este trabajo son mostrar que la caricatura árabe es capaz de analizar cualquier problema social. De este modo, la religión no debe ser un impedimento, ya que no existe ninguna prohibición en el Corán que induzca a pensar que el desarrollo de la caricatura debe estar prohibido. Por este motivo, la religión es considerada un aspecto social más que va a ser cuestionado y analizado, en tanto que implica un comportamiento social que influye en muchos aspectos de la vida de las personas.,     What do you want to do ? New mailCopy,     What do you want to do ? New mailCopy

En la época dorada de Hollywood, los estudios de animación estuvieron ligados a majors como Warner, MGM, Columbia (Screen Gems, UPA), Paramount (Famous Studios) o incluso la Fox (Terry Toons). Durante más de cuatro décadas, Walter Lantz (Estados Unidos, 1899-1994) dirigió el estudio que producía cartoons para Universal. Walter Lantz creó personajes como Andy Panda, Wally Walrus, Gabby Gator, Chilly Willie, pero el más popular de todos fue Woody Woodpecker. Lantz se formó en los primeros estudios de animación comercial (International Film Service, Bray Pictures), y dirigió la serie Oswald the Lucky Rabbit (1928) para Universal, estableciéndose como productor independiente en 1935. Sus cartoons fueron los últimos que recibieron distribución en cines, y también se introdujo en la televisión. Nominado numerosas veces al Oscar, en 1978 recibió un Oscar Honorífico por "por entretener y dar alegría al mundo con sus dibujos animados únicos". Bibliografía BENDAZZI, Giannalberto (2003), 110 años de cine de animación. BRADY, David (1994), "Walter Lantz, Creator of Woody Woodpecker, Dies", Los Angeles Times. GIFFORD, Dennis (1998), The Great Cartoon Stars. A Who's Who!, Londres: Bloomsbury. KLEIN, Tom (2015), "Tex Avery Loses an Eye", CartoonResearch. KNUDDE, KJell (2022), "Walter Lantz", Lambiek Comiclopedia. SEMPER, John (1982), Walter, Woody & The World of Animation, EEUU: Walter Lantz Productions.

En la época dorada de Hollywood, los estudios de animación estuvieron ligados a majors como Warner, MGM, Columbia (Screen Gems, UPA), Paramount (Famous Studios) o incluso la Fox (Terry Toons). Durante más de cuatro décadas, Walter Lantz (Estados Unidos, 1899-1994) dirigió el estudio que producía cartoons para Universal. Walter Lantz creó personajes como Andy Panda, Wally Walrus, Gabby Gator, Chilly Willie, pero el más popular de todos fue Woody Woodpecker. Lantz se formó en los primeros estudios de animación comercial (International Film Service, Bray Pictures), y dirigió la serie Oswald the Lucky Rabbit (1928) para Universal, estableciéndose como productor independiente en 1935. Sus cartoons fueron los últimos que recibieron distribución en cines, y también se introdujo en la televisión. Nominado numerosas veces al Oscar, en 1978 recibió un Oscar Honorífico por "por entretener y dar alegría al mundo con sus dibujos animados únicos". Bibliografía BENDAZZI, Giannalberto (2003), 110 años de cine de animación. BRADY, David (1994), "Walter Lantz, Creator of Woody Woodpecker, Dies", Los Angeles Times. GIFFORD, Dennis (1998), The Great Cartoon Stars. A Who's Who!, Londres: Bloomsbury. KLEIN, Tom (2015), "Tex Avery Loses an Eye", CartoonResearch. KNUDDE, KJell (2022), "Walter Lantz", Lambiek Comiclopedia. SEMPER, John (1982), Walter, Woody & The World of Animation, EEUU: Walter Lantz Productions.

En la época dorada de Hollywood, los estudios de animación estuvieron ligados a majors como Warner, MGM, Columbia (Screen Gems, UPA), Paramount (Famous Studios) o incluso la Fox (Terry Toons). Durante más de cuatro décadas, Walter Lantz (Estados Unidos, 1899-1994) dirigió el estudio que producía cartoons para Universal. Walter Lantz creó personajes como Andy Panda, Wally Walrus, Gabby Gator, Chilly Willie, pero el más popular de todos fue Woody Woodpecker. Lantz se formó en los primeros estudios de animación comercial (International Film Service, Bray Pictures), y dirigió la serie Oswald the Lucky Rabbit (1928) para Universal, estableciéndose como productor independiente en 1935. Sus cartoons fueron los últimos que recibieron distribución en cines, y también se introdujo en la televisión. Nominado numerosas veces al Oscar, en 1978 recibió un Oscar Honorífico por "por entretener y dar alegría al mundo con sus dibujos animados únicos". Bibliografía BENDAZZI, Giannalberto (2003), 110 años de cine de animación. BRADY, David (1994), "Walter Lantz, Creator of Woody Woodpecker, Dies", Los Angeles Times. GIFFORD, Dennis (1998), The Great Cartoon Stars. A Who's Who!, Londres: Bloomsbury. KLEIN, Tom (2015), "Tex Avery Loses an Eye", CartoonResearch. KNUDDE, KJell (2022), "Walter Lantz", Lambiek Comiclopedia. SEMPER, John (1982), Walter, Woody & The World of Animation, EEUU: Walter Lantz Productions.

It is obvious thatSesame Street and its inseparable Muppets (Muppets) do not fall within what could be considered as cartoons. However, it was the first TV show for kids with a serious educational objective, so this section would be orphaned without having approached it. Furthermore, experts and researchers participated in its design and scripting from the beginning. Although there are several Muppets that deal with mathematical questions, we will dedicate the article to the Count von Count, a specialist in everything related to counting., Obviamente, Barrio Sésamo y sus inseparables Teleñecos (Muppets), no entra dentro de lo que se consideran dibujos animados en el sentido estricto. Sin embargo, fue la primera producción televisiva orientada al público infantil con un objetivo educativo serio y la sección quedaría huérfana sin haberse acercado a ella. No en vano, en su diseño y guionización participaron expertos e investigadores desde el comienzo. Aunque son varios los Teleñecos que abordan cuestiones matemáticas, dedicaremos el artículo al Conde Draco (Count von Count), especialista en todo lo relativo al conteo.

Revisitamos en esta entrega la serie Numberblocks para detenernos en un par de episodios en los que se abordan cuestiones propias de la geometría. De esta forma, pretendemos mostrar que, a pesar de que los números son protagonistas de esta producción, otros saberes de otras áreas también están representados adecuadamente. Algunas de las cuestiones que comentaremos son el problema que consiste en obtener todos los poliminós diferentes que se pueden hacer para un N dado; o las definiciones de las figuras planas y las clasificaciones de los cuadriláteros., We approach in this volume the Numberblocks series again just to reflect upon a couple of episodes in which questions of geometry are addressed. In this way, we intend to show that, despite the fact that numbers are the protagonists of this production, other mathematical content is also adequately represented. Some of the issues that we will discuss are the problem of obtaining all the different polyminoes that can be done for a given N; or the definitions of 2D- figures and classifications of quadrilaterals.

Chromatics is a multimedia installation that explores the complexities of Blackness and the color black through the lens of color theory to analyze and examine the ways we are taught to see race. Chromatics refers to that which is highly colored; of or relating to color and its phenomena and sensations. Growing up in a predominantly white area, I was made aware of my Blackness at a very young age. While I did not fully understand the intricacies of race, I understood that the color of my skin was a major component of what it meant to be Black. This part of my identity has been complicated by my ever-changing environment, rendering me too Black in some spaces or not Black enough in others. In my art education, I was exposed to western color theory and the work of color theorist Josef Albers through his seminal text, The Interaction of Color. His work posits how our perception of a color shifts based on the proximity of that color to another. I employ this optical phenomenon as a metaphor for race, offering an entry point into understanding the depth of racism’s impact. This installation comprises six 2D works on paper and one single-channel video. Appropriation, manipulation, and re-presentation are the strategies used to subvert information presented to the viewer as fact or truth in popular culture, mainstream media, and public and political policy. The video work explores the media’s historical part in perpetuating racial stereotypes while the mixed media pieces deconstruct systems of categorization and seeing that have served as justification for white supremacy. Through drawing, painting and screenprint, I examine and deconstruct pigmented color, specifically the CMYK (Cyan, Magenta, Yellow, and Black or Key) process. The overlapping primary colors that contribute to the color black create an intersectional space that recontextualizes black as a central point that brings all other colors together rather than a marginalized absence of color. Imagery from cartoons

En la época dorada de Hollywood, los estudios de animación estuvieron ligados a majors como Warner, MGM, Columbia (Screen Gems, UPA), Paramount (Famous Studios) o incluso la Fox (Terry Toons). Durante más de cuatro décadas, Walter Lantz (Estados Unidos, 1899-1994) dirigió el estudio que producía cartoons para Universal. Walter Lantz creó personajes como Andy Panda, Wally Walrus, Gabby Gator, Chilly Willie, pero el más popular de todos fue Woody Woodpecker. Lantz se formó en los primeros estudios de animación comercial (International Film Service, Bray Pictures), y dirigió la serie Oswald the Lucky Rabbit (1928) para Universal, estableciéndose como productor independiente en 1935. Sus cartoons fueron los últimos que recibieron distribución en cines, y también se introdujo en la televisión. Nominado numerosas veces al Oscar, en 1978 recibió un Oscar Honorífico por "por entretener y dar alegría al mundo con sus dibujos animados únicos". Bibliografía BENDAZZI, Giannalberto (2003), 110 años de cine de animación. BRADY, David (1994), "Walter Lantz, Creator of Woody Woodpecker, Dies", Los Angeles Times. GIFFORD, Dennis (1998), The Great Cartoon Stars. A Who's Who!, Londres: Bloomsbury. KLEIN, Tom (2015), "Tex Avery Loses an Eye", CartoonResearch. KNUDDE, KJell (2022), "Walter Lantz", Lambiek Comiclopedia. SEMPER, John (1982), Walter, Woody & The World of Animation, EEUU: Walter Lantz Productions.

Humanity is in the midst of an unprecedented climate change (CC) crisis and has recently been plunged into a more imminent one related to COVID-19. This study conducts a multimodal content analysis of 1110 CC- and COVID-19-focused cartoons by leading US conservative cartoonists. The results of this study reveal that, while cartoonists use scientifically refuted arguments to deny that change is occurring in some of the global climate indicators, however they show subtle and less frequent skepticism when depicting the COVID-19 theme. In both cases, this skepticism is aimed at feeding back into a climate of general distrust and tension that seems to be supported by science denialist movements., La humanidad atraviesa una crisis sin precedentes derivada del cambio climático (CC) y recientemente se ha visto sumida en otra más inminente relacionada con la COVID-19. En este estudio se realiza un análisis multimodal del contenido de 1110 viñetas centradas en el CC y la COVID-19 de los principales viñetistas conservadores estadounidenses. Los resultados de este estudio revelan que si bien los viñetistas esgrimen argumentos científicamente refutados para negar que se está produciendo una variación en algunos de los indicadores climáticos globales, muestran un escepticismo sutil y menos frecuente cuando representan la temática de la COVID-19. En ambos casos,  este escepticismo está enfocado a retroalimentar un clima de desconfianza y crispación general que parece apoyarse en los movimientos negacionistas de la ciencia.

This research elaborates on utilization of cartoons as a tool of religious instruction for children. Cartoons can be used as an instrument for children’s mental development because a child’s mind is like a plain slate, what you write leaves a long-lasting impact. Cartoons have become a favorite activity of children and they spend most of their leisure time on watching cartoons. Children’s interest in cartoons also impacts their mind according to the content and concept of cartoons. For this aim, cartoons with religious instructions were shown to children and interview of some children’s parents and teachers were done in Sheikhupura. The data collected from the observations and interviews done qualitatively for this research shows that cartoons are a very effective source of religious instruction for children. Children not only understand these instructions easily but also try to follow them.

This research elaborates on utilization of cartoons as a tool of religious instruction for children. Cartoons can be used as an instrument for children’s mental development because a child’s mind is like a plain slate, what you write leaves a long-lasting impact. Cartoons have become a favorite activity of children and they spend most of their leisure time on watching cartoons. Children’s interest in cartoons also impacts their mind according to the content and concept of cartoons. For this aim, cartoons with religious instructions were shown to children and interview of some children’s parents and teachers were done in Sheikhupura. The data collected from the observations and interviews done qualitatively for this research shows that cartoons are a very effective source of religious instruction for children. Children not only understand these instructions easily but also try to follow them.

This research elaborates on utilization of cartoons as a tool of religious instruction for children. Cartoons can be used as an instrument for children’s mental development because a child’s mind is like a plain slate, what you write leaves a long-lasting impact. Cartoons have become a favorite activity of children and they spend most of their leisure time on watching cartoons. Children’s interest in cartoons also impacts their mind according to the content and concept of cartoons. For this aim, cartoons with religious instructions were shown to children and interview of some children’s parents and teachers were done in Sheikhupura. The data collected from the observations and interviews done qualitatively for this research shows that cartoons are a very effective source of religious instruction for children. Children not only understand these instructions easily but also try to follow them.

This research elaborates on utilization of cartoons as a tool of religious instruction for children. Cartoons can be used as an instrument for children’s mental development because a child’s mind is like a plain slate, what you write leaves a long-lasting impact. Cartoons have become a favorite activity of children and they spend most of their leisure time on watching cartoons. Children’s interest in cartoons also impacts their mind according to the content and concept of cartoons. For this aim, cartoons with religious instructions were shown to children and interview of some children’s parents and teachers were done in Sheikhupura. The data collected from the observations and interviews done qualitatively for this research shows that cartoons are a very effective source of religious instruction for children. Children not only understand these instructions easily but also try to follow them.

This research elaborates on utilization of cartoons as a tool of religious instruction for children. Cartoons can be used as an instrument for children’s mental development because a child’s mind is like a plain slate, what you write leaves a long-lasting impact. Cartoons have become a favorite activity of children and they spend most of their leisure time on watching cartoons. Children’s interest in cartoons also impacts their mind according to the content and concept of cartoons. For this aim, cartoons with religious instructions were shown to children and interview of some children’s parents and teachers were done in Sheikhupura. The data collected from the observations and interviews done qualitatively for this research shows that cartoons are a very effective source of religious instruction for children. Children not only understand these instructions easily but also try to follow them.

This research elaborates on utilization of cartoons as a tool of religious instruction for children. Cartoons can be used as an instrument for children’s mental development because a child’s mind is like a plain slate, what you write leaves a long-lasting impact. Cartoons have become a favorite activity of children and they spend most of their leisure time on watching cartoons. Children’s interest in cartoons also impacts their mind according to the content and concept of cartoons. For this aim, cartoons with religious instructions were shown to children and interview of some children’s parents and teachers were done in Sheikhupura. The data collected from the observations and interviews done qualitatively for this research shows that cartoons are a very effective source of religious instruction for children. Children not only understand these instructions easily but also try to follow them.

This article analyzed the correlation between (a) Religion/Religiosity of 1,081 characters-victims and (b) Types, (c) Sub-types and (d) Nature of 1,081 acts of violence received by these characters; in 100 animated series, representing 33.22% of TV products and 54.34% of animated series, consumed by 2,088 schoolchildren in Mexico. The RESULTS reveal that: 84.08% are Victims-Without-Religion; 11.65% Victims-With-Religiosity-Animist/Pagan; and 1.85% Victims-With-Religion. Furthermore, the most violent interpersonal relationships for all religions/religiosities are the egalitarian ones at the community level; but the Victims-Without-Religion are the characters who receive the highest percentage of Interpersonal-Violence: 62.25% receive Interpersonal-Equallitaire Violence and 62.85% Interpersonal-Community Violence. These data are interpreted as symptoms of late modernity because they favor the breaking of modern political values with: (a) the social construction of negative stereotypes of the Modern-Social-Subject (Without-Religion/secular/laïc); and of the egalitarian political-social system/order; and with (b) the social construction of positive stereotypes of the hierarchical social system/order characteristic of pre-modern traditional religions/religious identities., Este artículo analizó la correlación entre (a) Religión/Religiosidad de 1,081 personajes-víctimas y (b) Tipos, (c) Subtipos y (d) Naturaleza de 1,081 acciones de violencia recibidas por estos personajes; en 100 series animadas, representativas del 33.22% de productos de TV y del 54.34% de series animadas, consumidas por 2,088 escolares en México. Los RESULTADOS rebelan que: 84.08% son Víctimas-Sin-Religión; 11.65% Víctimas-Con-Religiosidad-Animista/Pagana; y 1.85% Víctimas-Con-Religión. Además, las relaciones interpersonales más violentas para todas las religiones/religiosidades son las igualitarias del ámbito comunitario; pero son personajes Víctimas-Sin-Religión quienes reciben el mayor porcentaje de Violencia-Interpersonal: 62.25% recibe Violencia-Interpersonal-Igualitaria y 62.85% Violencia-Interpersonal-Comunitaria. Estos datos se interpretan como síntomas de tardomodernidad porque favorecen el quebrantamiento de valores políticos modernos con: (a) la construcción social de estereotipos negativos del Sujeto-Social-Moderno (Sin-Religión/laico/secular); y del sistema/orden político-social igualitario; y con (b) la construcción social de estereotipos positivos del sistema/orden social jerarquizado característico de religiones/identidades religiosas tradicionales pre-modernas.

Cartoons show stories which starring characters have impact on children's audience, which can help to make disability visible and promote respect. The aim of this research is to analyze the representation of different abilities as shown in animation shorts aimed at children. The methodology used is qualitative and focused on the content study of ten short animated – between 2010-2020- which starring characters have physical or cognitive differences. The Inclusive-Toons instrument allowed analyzing them from three dimensions: technical-narrative, socio-educational and affective-emotional. The results show that most of them are in 3D, tell plausible stories without locution, using music to emphasize the message. The representation of disability is explicit when it is physical, and metaphorical when it is cognitive. The plot focuses on self-improvement if the disability is supervening, or on the need for integration if it is congenital. Male protagonists adopt roles conditioned by their limitations, while females who act more freely. Auxiliary characters are usually female and look for strategies to resolve conflicts. Undoubtedly, these stories become socio-cognitive learning platforms that, in a diverse society, offer the opportunity to develop an inclusive gaze., Los dibujos animados muestran relatos protagonizados por personajes con gran impacto en la audiencia infantil, que pueden ayudar a visibilizar la discapacidad y promover el respeto. Esta investigación analiza cómo se representan las diferentes capacidades en cortos de animación dirigidos a menores. Se adopta una metodología cualitativa, centrada en el estudio de casos y el análisis de contenido de diez cortos animados -producidos entre 2010-2020- y protagonizados por personajes con diferencias físicas o cognitivas. El instrumento Inclusive-Toons permitió analizarlos desde tres dimensiones: técnico-narrativa, socio-educativa y afectivo-emocional. Los resultados evidencian que la mayoría son en 3D, narran historias verosímiles sin locución, utilizando la música para enfatizar el mensaje. La representación de la discapacidad es explícita cuando es de tipo físico, y metafórica cuando es de tipo cognitivo. La trama se focaliza en la superación personal si la discapacidad es sobrevenida, o en la necesidad de integración si es congénita. Los protagonistas masculinos adoptan roles condicionados por sus limitaciones, a diferencia de las féminas que actúan con mayor libertad. Los personajes auxiliares suelen ser femeninos y buscan estrategias para resolver los conflictos. Indudablemente, estos relatos se convierten en plataformas de aprendizaje socio-cognitivo que, en una sociedad diversa, ofrecen una mirada inclusiva.

The backbone of this research focused on the descriptive analysis of gender portrayals maintained by two popular American cartoon animations, "The Simpsons" and "South Park". Programs broadcast for the first time in Colombia in the period of 1992-1997 that currently continue to present to their audience the traditionalist image of sexual roles. To confirm the above, a denotative analysis of the adjectives used by the characters present in the randomly selected chapters was performed, using as the main criterion for inclusion their emission in the epilogue of the 20th century and the contemporary period. As a main conclusion it was determined that the format of both programs denotes a sexist bias from the male characters, whose attitudes frame leadership and strength, while those of the female collective represent the classic roles of submission and self-sacrifice., La columna vertebral del presente trabajo de investigación se focalizó en el análisis descriptivo de las dinámicas de género en dos animaciones norteamericanas populares de dibujos animados, “Los Simpson” y “South Park”. Programas emitidos por primera vez en Colombia en el periodo de 1992-1997 que en la actualidad siguen presentando a su audiencia la imagen tradicionalista de los roles sexuales. Para confirmar lo anteriormente expuesto, se realizó un análisis denotativo y de contenido de los adjetivos empleados por los personajes presentes en los capítulos seleccionados de forma aleatoria, apelando como criterio principal de inclusión su emisión en el epílogo del siglo XX y el periodo contemporáneo. Como conclusión principal se determinó que a la fecha el formato de ambos programas denota un sesgo sexista proveniente de los personajes varones, cuyas actitudes enmarcan el liderazgo y fortaleza, mientras que las del colectivo femenino representan los roles clásicos de sumisión y auto sacrificio.

The aim of the paper is to analyze how humor as a discursive strategy in cartoons is able to reveal the practices of the São Paulo Bank Workers. The work becomes relevant from the possibility of showing practices of resistance, transgression or contradiction in organizations through cartoons published in their official channels of communication. We adopted the qualitative methodology and analyzed, based on Foucault's power analysis, five cartoons published in the Folha Bancária union newspaper, in addition to nine reports and public documents available on the website of the union institution and the Fundação Projeto Travessia. The results suggest contradictions in the union's practices, revealing inconsistencies in partnerships with private banks, unionization strategies that weaken collective struggles and the absence of expressive results in its reporting channels against moral harassment., O objetivo do artigo é analisar como o humor enquanto estratégia discursiva em charges é capaz de revelar as práticas do Sindicato dos Bancários de São Paulo. O trabalho se torna relevante a partir da possibilidade de evidenciar práticas de resistência, transgressão ou contradição em organizações por meio de charges veiculadas em seus canais oficiais de comunicação. Adotamos a metodologia qualitativa e analisamos, com base na analítica de poder foucaultiana, cinco charges publicadas no jornal sindical Folha Bancária, além de nove reportagens e documentos públicos disponíveis no sítio do sindicato e da Fundação Projeto Travessia. Os resultados sugerem contradições nas práticas do sindicato, revelando incoerências em parcerias com bancos privados, estratégias de sindicalização que enfraquecem as lutas coletivas e a ausência de resultados expressivos em seus canais de denúncias contra o assédio moral.

This study examines the degradation of ethical, academic, and moral subject matter that has been increasing in animation and children’s programing since the 1980s. Prior to that time, cartoons were infused with silly humor, clean jokes, age-appropriate subject matter, and traditional values and morals. However, over the last forty years, cartoons are now including graphic violence and sexual innuendos while promoting the acceptance and tolerance of rebellious behavior, inappropriate language, and crude jokes. Within the last 10 years children’s programing has begun mainstreaming the LGBTQ+ lifestyle while steering away from or even attacking traditional Christian beliefs, principles, and values. Christian animation such as the popular 1950s and 1960s television program Davey and Goliath and the 1990s program VeggieTales deal with subject matter directly from Biblical stories and Scripture. Although these programs illustrate stories and morals from Scripture, they do not portray typical everyday subjects or situations to which non-religious children or families can relate. Although Davey and Goliath did deal with a little boy’s questions and dilemmas, they did this within the format of a Biblical setting. Unfortunately, by their very nature as Christian or religious programs, the format and subject matter of Davey and Goliath and VeggieTales generally has not engaged groups of non-believers, atheists, agnostics, and secular educators and scientists. This study presents the researcher’s characters, the Rollerbots, the Elite 7, and the Librarians of Historical Culture and Knowledge as a viable alternative for the future of animation. A cartoon featuring these characters would fill this void and work together to address these secular worldview issues and situations, not only from a child’s viewpoint but those of an adolescent and adult as well. Topics and information will be brought forth with scholarly answers to questions from a Christian worldview allowing the truth

Cartoons show stories which starring characters have impact on children's audience, which can help to make disability visible and promote respect. The aim of this research is to analyze the representation of different abilities as shown in animation shorts aimed at children. The methodology used is qualitative and focused on the content study of ten short animated – between 2010-2020- which starring characters have physical or cognitive differences. The Inclusive-Toons instrument allowed analyzing them from three dimensions: technical-narrative, socio-educational and affective-emotional. The results show that most of them are in 3D, tell plausible stories without locution, using music to emphasize the message. The representation of disability is explicit when it is physical, and metaphorical when it is cognitive. The plot focuses on self-improvement if the disability is supervening, or on the need for integration if it is congenital. Male protagonists adopt roles conditioned by their limitations, while females who act more freely. Auxiliary characters are usually female and look for strategies to resolve conflicts. Undoubtedly, these stories become socio-cognitive learning platforms that, in a diverse society, offer the opportunity to develop an inclusive gaze., Los dibujos animados muestran relatos protagonizados por personajes con gran impacto en la audiencia infantil, que pueden ayudar a visibilizar la discapacidad y promover el respeto. Esta investigación analiza cómo se representan las diferentes capacidades en cortos de animación dirigidos a menores. Se adopta una metodología cualitativa, centrada en el estudio de casos y el análisis de contenido de diez cortos animados -producidos entre 2010-2020- y protagonizados por personajes con diferencias físicas o cognitivas. El instrumento Inclusive-Toons permitió analizarlos desde tres dimensiones: técnico-narrativa, socio-educativa y afectivo-emocional. Los resultados evidencian que la mayoría son en 3D, narran historias verosímiles sin locución, utilizando la música para enfatizar el mensaje. La representación de la discapacidad es explícita cuando es de tipo físico, y metafórica cuando es de tipo cognitivo. La trama se focaliza en la superación personal si la discapacidad es sobrevenida, o en la necesidad de integración si es congénita. Los protagonistas masculinos adoptan roles condicionados por sus limitaciones, a diferencia de las féminas que actúan con mayor libertad. Los personajes auxiliares suelen ser femeninos y buscan estrategias para resolver los conflictos. Indudablemente, estos relatos se convierten en plataformas de aprendizaje socio-cognitivo que, en una sociedad diversa, ofrecen una mirada inclusiva.

The aim of the paper is to analyze how humor as a discursive strategy in cartoons is able to reveal the practices of the São Paulo Bank Workers. The work becomes relevant from the possibility of showing practices of resistance, transgression or contradiction in organizations through cartoons published in their official channels of communication. We adopted the qualitative methodology and analyzed, based on Foucault's power analysis, five cartoons published in the Folha Bancária union newspaper, in addition to nine reports and public documents available on the website of the union institution and the Fundação Projeto Travessia. The results suggest contradictions in the union's practices, revealing inconsistencies in partnerships with private banks, unionization strategies that weaken collective struggles and the absence of expressive results in its reporting channels against moral harassment., O objetivo do artigo é analisar como o humor enquanto estratégia discursiva em charges é capaz de revelar as práticas do Sindicato dos Bancários de São Paulo. O trabalho se torna relevante a partir da possibilidade de evidenciar práticas de resistência, transgressão ou contradição em organizações por meio de charges veiculadas em seus canais oficiais de comunicação. Adotamos a metodologia qualitativa e analisamos, com base na analítica de poder foucaultiana, cinco charges publicadas no jornal sindical Folha Bancária, além de nove reportagens e documentos públicos disponíveis no sítio do sindicato e da Fundação Projeto Travessia. Os resultados sugerem contradições nas práticas do sindicato, revelando incoerências em parcerias com bancos privados, estratégias de sindicalização que enfraquecem as lutas coletivas e a ausência de resultados expressivos em seus canais de denúncias contra o assédio moral.

This article analyzed the correlation between (a) Religion/Religiosity of 1,081 characters-victims and (b) Types, (c) Sub-types and (d) Nature of 1,081 acts of violence received by these characters; in 100 animated series, representing 33.22% of TV products and 54.34% of animated series, consumed by 2,088 schoolchildren in Mexico. The RESULTS reveal that: 84.08% are Victims-Without-Religion; 11.65% Victims-With-Religiosity-Animist/Pagan; and 1.85% Victims-With-Religion. Furthermore, the most violent interpersonal relationships for all religions/religiosities are the egalitarian ones at the community level; but the Victims-Without-Religion are the characters who receive the highest percentage of Interpersonal-Violence: 62.25% receive Interpersonal-Equallitaire Violence and 62.85% Interpersonal-Community Violence. These data are interpreted as symptoms of late modernity because they favor the breaking of modern political values with: (a) the social construction of negative stereotypes of the Modern-Social-Subject (Without-Religion/secular/laïc); and of the egalitarian political-social system/order; and with (b) the social construction of positive stereotypes of the hierarchical social system/order characteristic of pre-modern traditional religions/religious identities., Este artículo analizó la correlación entre (a) Religión/Religiosidad de 1,081 personajes-víctimas y (b) Tipos, (c) Subtipos y (d) Naturaleza de 1,081 acciones de violencia recibidas por estos personajes; en 100 series animadas, representativas del 33.22% de productos de TV y del 54.34% de series animadas, consumidas por 2,088 escolares en México. Los RESULTADOS rebelan que: 84.08% son Víctimas-Sin-Religión; 11.65% Víctimas-Con-Religiosidad-Animista/Pagana; y 1.85% Víctimas-Con-Religión. Además, las relaciones interpersonales más violentas para todas las religiones/religiosidades son las igualitarias del ámbito comunitario; pero son personajes Víctimas-Sin-Religión quienes reciben el mayor porcentaje de Violencia-Interpersonal: 62.25% recibe Violencia-Interpersonal-Igualitaria y 62.85% Violencia-Interpersonal-Comunitaria. Estos datos se interpretan como síntomas de tardomodernidad porque favorecen el quebrantamiento de valores políticos modernos con: (a) la construcción social de estereotipos negativos del Sujeto-Social-Moderno (Sin-Religión/laico/secular); y del sistema/orden político-social igualitario; y con (b) la construcción social de estereotipos positivos del sistema/orden social jerarquizado característico de religiones/identidades religiosas tradicionales pre-modernas.

The world is presently facing a myriad of environmental challenges. One way to address these challenges is through the development of cognitive abilities to analyse environmental issues and respond to them appropriately. There are a number of approaches used in education processes to develop the cognitive abilities of students; one of them is the use of conceptual or reasoning cartoons. This article reports on an exploratory study of the quality of pre-service teachers’ cognitive abilities in the analysis of three conceptual cartoons depicting real environmental challenges. The study was interpretivist in nature and followed a case study design. The participants were a convenient sample of students (n = 32) at year level three, at a Southern African residential university, doing a Life Science’s teaching methods module. Students were required to analyse three environmental cartoons which they had not previously seen or discussed. The responses were coded according to the basic analytical steps of critical thinking and analysed qualitatively and quantitatively. The results showed that most responses were framed as descriptions of the cartoon rather than higher order analytical thinking; most students were unable to follow a sequence of analytical thinking; presentation of cognition was textual; and most pre-service teachers’ responses were phrased in a way that made it seem as if they were not part of the environmental issue. It is recommended that Life Sciences’ methodology pre-service teachers be categorically developed in analytical thinking of environmental issues, as they have a crucial role to play as future citizens.

Esta investigación analiza la figura femenina y masculina en 11 películas de animación de las factorías Disney, Pixar y DreamWorks. Se busca aportar información sobre la existencia de roles sexistas y discriminatorios en películas que pueden ser utilizadas como recurso didáctico y comprobar si son un modo de transmisión de contravalores que comprometan la socialización en igualdad de género de la infancia. La investigación se ha llevado a cabo utilizando un enfoque cualitativo de análisis de contenido, a través de un registro analítico elaborado ‘ad hoc’, para conocer en qué porcentaje está representada la figura femenina, su relación con otros personajes y las tramas argumentales asociadas a cada protagonista en función de su género. Los resultados revelan que existe un desequilibrio en la representación femenina y masculina y que se identifican comportamientos sexistas que perpetúan la tradicional imagen social de mujeres y hombres. Se muestran dos nuevos estereotipos: la rebeldía de género y el alarde de excepcionalidad. Se concluye que estas películas no son un recurso óptimo para potenciar los valores de igualdad propios de una escuela coeducativa, a menos que los docentes junto al alumnado, realicen un análisis crítico con perspectiva de género durante su proyección en el aula., This research analyzes the female and male characters in 11 movies for children produced by Disney, Pixar, and DreamWorks. It seeks to provide useful information on the existence of sexist and discriminatory roles in films that are commonly used as pedagogical materials and to discover if this material rather than helping professionals in educating children for gender equality, becomes a means by which children may learn counter values. The study has been carried out using a qualitative approach and content analysis has been followed in order to access the percentage of female characters in the films, its relationship with other characters and the plot patterns that are given to each main character depending on their gender. Results reveal that there is an unequal representation of female and male characters, and gender stereotypes and sexist behaviors that perpetuate the roles and traditional social image endorsed to women and men are identified. As conclusion, it can be argued that these films cannot be considered as educational resources that promote that gender equality values that characterize any coeducational experience at the school unless both teachers and children undertake a critical analysis with a gender perspective during the film screening in the classroom.

Esta investigación analiza la figura femenina y masculina en 11 películas de animación de las factorías Disney, Pixar y DreamWorks. Se busca aportar información sobre la existencia de roles sexistas y discriminatorios en películas que pueden ser utilizadas como recurso didáctico y comprobar si son un modo de transmisión de contravalores que comprometan la socialización en igualdad de género de la infancia. La investigación se ha llevado a cabo utilizando un enfoque cualitativo de análisis de contenido, a través de un registro analítico elaborado ‘ad hoc’, para conocer en qué porcentaje está representada la figura femenina, su relación con otros personajes y las tramas argumentales asociadas a cada protagonista en función de su género. Los resultados revelan que existe un desequilibrio en la representación femenina y masculina y que se identifican comportamientos sexistas que perpetúan la tradicional imagen social de mujeres y hombres. Se muestran dos nuevos estereotipos: la rebeldía de género y el alarde de excepcionalidad. Se concluye que estas películas no son un recurso óptimo para potenciar los valores de igualdad propios de una escuela coeducativa, a menos que los docentes junto al alumnado, realicen un análisis crítico con perspectiva de género durante su proyección en el aula., This research analyzes the female and male characters in 11 movies for children produced by Disney, Pixar, and DreamWorks. It seeks to provide useful information on the existence of sexist and discriminatory roles in films that are commonly used as pedagogical materials and to discover if this material rather than helping professionals in educating children for gender equality, becomes a means by which children may learn counter values. The study has been carried out using a qualitative approach and content analysis has been followed in order to access the percentage of female characters in the films, its relationship with other characters and the plot patterns that are given to each main character depending on their gender. Results reveal that there is an unequal representation of female and male characters, and gender stereotypes and sexist behaviors that perpetuate the roles and traditional social image endorsed to women and men are identified. As conclusion, it can be argued that these films cannot be considered as educational resources that promote that gender equality values that characterize any coeducational experience at the school unless both teachers and children undertake a critical analysis with a gender perspective during the film screening in the classroom.

This article reports on documentary research carried out in the field of interdisciplinary studies in Applied Linguistics. The research object is the animation O Show da Luna, categorized as an emerging genre: educational scientific cartoon. The general objective was to discuss science representations and to analyze the pedagogical functions that animation can assume to mediate scientific education practices for children, especially covering the humanities as legitimate science. The focus was on the science of language, which permeates all other scientific areas by building them, mediating their productions and communications. For this reason, the research also resulted in the proposal of alternative scripts for the animation, aiming at education through research in Portuguese Language in early childhood education., Resumo: Este artigo relata uma investigação de natureza documental, realizada no campo de estudos interdisciplinares da Linguística Aplicada. O objeto de pesquisa é a animação O Show da Luna, aqui categorizada como gênero emergente desenho animado científico educativo. O objetivo geral foi discutir as representações de ciência e analisar as funções pedagógicas que a animação pode assumir para mediar práticas e educação científica de crianças, especialmente abrangendo as humanidades como ciência legítima. Focalizou-se a ciência da língua(gem), que perpassa por todas as demais áreas científicas, construindo-as, mediando suas produções e comunicações. Por isso, a pesquisa resultou também na proposição de roteiros alternativos para a animação, visando-se a formação pela pesquisa em língua portuguesa na Educação Infantil.

Cartoons show stories which starring characters have impact on children's audience, which can help to make disability visible and promote respect. The aim of this research is to analyze the representation of different abilities as shown in animation shorts aimed at children. The methodology used is qualitative and focused on the content study of ten short animated – between 2010-2020- which starring characters have physical or cognitive differences. The Inclusive-Toons instrument allowed analyzing them from three dimensions: technical-narrative, socio-educational and affective-emotional. The results show that most of them are in 3D, tell plausible stories without locution, using music to emphasize the message. The representation of disability is explicit when it is physical, and metaphorical when it is cognitive. The plot focuses on self-improvement if the disability is supervening, or on the need for integration if it is congenital. Male protagonists adopt roles conditioned by their limitations, while females who act more freely. Auxiliary characters are usually female and look for strategies to resolve conflicts. Undoubtedly, these stories become socio-cognitive learning platforms that, in a diverse society, offer the opportunity to develop an inclusive gaze., Los dibujos animados muestran relatos protagonizados por personajes con gran impacto en la audiencia infantil, que pueden ayudar a visibilizar la discapacidad y promover el respeto. Esta investigación analiza cómo se representan las diferentes capacidades en cortos de animación dirigidos a menores. Se adopta una metodología cualitativa, centrada en el estudio de casos y el análisis de contenido de diez cortos animados -producidos entre 2010-2020- y protagonizados por personajes con diferencias físicas o cognitivas. El instrumento Inclusive-Toons permitió analizarlos desde tres dimensiones: técnico-narrativa, socio-educativa y afectivo-emocional. Los resultados evidencian que la mayoría son en 3D, narran historias verosímiles sin locución, utilizando la música para enfatizar el mensaje. La representación de la discapacidad es explícita cuando es de tipo físico, y metafórica cuando es de tipo cognitivo. La trama se focaliza en la superación personal si la discapacidad es sobrevenida, o en la necesidad de integración si es congénita. Los protagonistas masculinos adoptan roles condicionados por sus limitaciones, a diferencia de las féminas que actúan con mayor libertad. Los personajes auxiliares suelen ser femeninos y buscan estrategias para resolver los conflictos. Indudablemente, estos relatos se convierten en plataformas de aprendizaje socio-cognitivo que, en una sociedad diversa, ofrecen una mirada inclusiva.

The following scientific article presents the review of the plot, physical aspects and dialogue of the various characters associated with the chapter entitled The Bully, an episode of Nickelodeon’s American animated series "Spongebob SquarePants"; Television product created by Stephen Hillenburg, broadcast since 1999 in the USA and subsequently serialized in different countries over the next decades. The series featured various marine figures who imitated rational behaviors and suffered events that compromised their lives, presenting themselves under the guise of black humor. The content analysis performed at The Bully confirms that this animation in question transmitted to the children’s audience a strong message focused on the identification of behavioral patterns that makes up the identity of an abuser, being present in the longevity of the episode an emotional charge represented through the mood of the protagonist and the real suppression of the consequences of the acts, aspects that made it impossible for the audience to fully understand the argument of the chapter., Se presenta en el siguiente artículo de carácter científico la revisión del argumento, aspectos físicos y diálogo de los diversos personajes asociados al cortometraje titulado “El Matón”, un capítulo de la serie animada estadounidense de Nickelodeon “Bob Esponja”; producto televisivo creado por Stephen Hillenburg, emitido desde 1999 en EE. UU. y posteriormente serializado en diferentes países durante las décadas siguientes. La serie está protagonizada por diversas figuras marinas que imitan comportamientos racionales y sufren sucesos que comprometen sus vidas, presentándose estos bajo el disfraz del humor negro. El análisis de contenido realizado a “El Matón” confirma que esta animación en cuestión transmitió a la audiencia infantil un mensaje contundente focalizado en la identificación de los patrones comportamentales que configuran la identidad de un abusador, estando presente en la longevidad del episodio una carga emocional representada por el estado anímico del protagonista y la supresión real de las consecuencias de los actos, aspectos que imposibilitaron a la teleaudiencia la comprensión total del argumento del capítulo.

Esta investigación analiza la figura femenina y masculina en 11 películas de animación de las factorías Disney, Pixar y DreamWorks. Se busca aportar información sobre la existencia de roles sexistas y discriminatorios en películas que pueden ser utilizadas como recurso didáctico y comprobar si son un modo de transmisión de contravalores que comprometan la socialización en igualdad de género de la infancia. La investigación se ha llevado a cabo utilizando un enfoque cualitativo de análisis de contenido, a través de un registro analítico elaborado ‘ad hoc’, para conocer en qué porcentaje está representada la figura femenina, su relación con otros personajes y las tramas argumentales asociadas a cada protagonista en función de su género. Los resultados revelan que existe un desequilibrio en la representación femenina y masculina y que se identifican comportamientos sexistas que perpetúan la tradicional imagen social de mujeres y hombres. Se muestran dos nuevos estereotipos: la rebeldía de género y el alarde de excepcionalidad. Se concluye que estas películas no son un recurso óptimo para potenciar los valores de igualdad propios de una escuela coeducativa, a menos que los docentes junto al alumnado, realicen un análisis crítico con perspectiva de género durante su proyección en el aula., This research analyzes the female and male characters in 11 movies for children produced by Disney, Pixar, and DreamWorks. It seeks to provide useful information on the existence of sexist and discriminatory roles in films that are commonly used as pedagogical materials and to discover if this material rather than helping professionals in educating children for gender equality, becomes a means by which children may learn counter values. The study has been carried out using a qualitative approach and content analysis has been followed in order to access the percentage of female characters in the films, its relationship with other characters and the plot patterns that are given to each main character depending on their gender. Results reveal that there is an unequal representation of female and male characters, and gender stereotypes and sexist behaviors that perpetuate the roles and traditional social image endorsed to women and men are identified. As conclusion, it can be argued that these films cannot be considered as educational resources that promote that gender equality values that characterize any coeducational experience at the school unless both teachers and children undertake a critical analysis with a gender perspective during the film screening in the classroom.

This article is derived from a framework study that analyzed -with 16 multivariate categories- violence (received / produced) by characters of 100 animated series, representing 33.22% of TV products and 54.34% of animated series, consumed by schoolchildren in Mexico. This is the only article in this framework study that reveals descriptive results of the acts of violence received by the victim characters; without correlated or disaggregated them with the specificlies characteristics of the victim characters. The OBJECTIVE of this article is to present: (1) a classification of the 1,081 acts of violence received by 1,081 victim characters in the 230 complete chapters, representative of the 100 animated series, whos conforming the sample. METHODOLOGY. The framework study applied content analysis with 16 categories; and this article: correlational-comparative analysis of the following three categories: (a) Types, (b) Subtypes and (c) Nature of violence (WHO Classification of violence). The RESULTS of the study reveal that 57.80% (1,081 of the total of 1,870) characters that appear in the sample are victims (receive / experience violence). That the 1,081 acts of violence (received by them) are of four types (77.70% interpersonal, 11.56% self-inflicted, 7.12% collective and 3.60% external); twenty-three Subtypes; and six Natures of violence (63.10% physical; 12.22% psychological; 9.07% deprivation and inattention; 5.15% symbolic; 3.04% verbal; and 0.50% sexual). And that it is the egalitarian interpersonal relationships between victim and perpetrator that represent the five highest percentages of violence in the entire sample. The highest percentage being the "Violence-Interpersonal-of-Nature-Physical-produced-by-Strangers" (36.72%)., Este artículo se deriva de un estudio marco que analizó -con 16 categorías multivariables- la violencia (recibida/producida) por personajes de 100 series animadas, representativas del 33.22% de productos de TV y del 54.34% de series animadas, consumidas por escolares no México. Este é o único artigo neste estudo-quadro que revela resultados descritivos dos atos de violência; não correlacionado ou desagregado com / de acordo com as características dos personagens da vítima. O OBJETIVO deste artigo é apresentar: (1) uma classificação dos 1.081 atos de violência recebidos pelos 1.081 personagens vítimas (que receberam violência) em 230 capítulos completos, representativos das 100 séries animadas da amostra. METODOLOGIA. O estudo-quadro aplicou análise de conteúdo com 16 categorias; e este artigo: análise correlacional-comparativa das três categorias seguintes: (a) Tipos, (b) Subtipos e (c) Natureza da violência (classificação da violência da OMS). Os RESULTADOS do estudo revelam que 57,80% (1.081 do total de 1.870) personagens que aparecem na amostra são vítimas (recebem / vivenciam violência). Que os 1.081 atos de violência (por eles recebidos) são de quatro tipos (77,70% interpessoais, 11,56% autoinfligidos, 7,12% coletivos e 3,60% externos); vinte e três subtipos; e seis naturezas de violência (63,10% física; 12,22% psicológica; 9,07% privação e negligência; 5,15% simbólica; 3,04% verbal; e 0,50% sexual). E que são as relações interpessoais igualitárias entre vítima e agressor que representam os cinco maiores percentuais de violência em toda a amostra. O maior percentual sendo a "Violência-Interpessoal-da-Natureza-Física-produzida-por-Estranhos" (36,72%)., Este artículo se deriva de un estudio marco que analizó -con 16 categorías multivariables- la violencia (recibida/producida) por personajes de 100 series animadas, representativas del 33.22% de productos de TV y del 54.34% de series animadas, consumidas por escolares en México. Este es el único artículo de dicho estudio marco que revela resultados descriptivos de las acciones de violencia; no correlacionados ni desagregados con/según las características de los personajes víctimas. El OBJETIVO del presente artículo es presentar: (1) una clasificación de las 1,081 acciones de violencia recibidas por los 1,081 personajes víctimas (que recibieron violencia) en 230 capítulos completos, representativos de las 100 series animadas de la muestra. METODOLOGÍA. El estudio marco aplicó análisis de contenido con 16 categorías; y este artículo: análisis correlacional-comparativo de las siguientes tres categorías: (a) Tipos, (b) Subtipos y (c) Naturaleza de la violencia (Clasificación OMS de violencia). Los RESULTADOS del estudio revelan que 57.80% (1,081 del total de 1,870) personajes que aparecen en la muestra son víctimas (reciben/experimentan violencia). Que las 1,081 acciones de violencia (recibidas por estos) son de cuatro Tipos (77.70% interpersonal, 11.56% autoinflingida, 7.12% colectiva y 3.60% externa); veintitres Subtipos; y seis Naturalezas de violencia (63.10% física; 12.22% psicológica; 9.07% privaciones y desatención; 5.15% simbólica; 3.04% verbal; y 0.50% sexual). Y que son las relaciones interpersonales igualitarias entre víctima y victimario las que representan los cinco mayores porcentajes de violencia de toda la muestra. Siendo el mayor porcentaje la “Violencia-Interpersonal-de-Naturaleza-Física-producida-por-Extraños” (36.72%).

This investigative work analyzes the discourse of the children’s series PJ Masks. The objective of our study is to determine the visual and linguistic resources used in the construction of the message. This analysis will allow us to recognize the recurring discursive characteristics, regarding the language used and the elements of visual semiotics, which allow a positive response from the children’s audience. A qualitative methodology was proposed through observation cards and discourse analysis, the linguistic and graphic characteristics present in two seasons of the children’s series were identified. In the series we recognize a simple language, words and phrases that are repeated in all episodes. The message revolves around a problem that one of the heroes must face, the conflicts that this creates for him and how with the support of his friends he overcomes it. The visual semiotic part reinforces the speech, allows the children to identify the colors of the costumes and the special places. The discursive strategies used in the PJ Mask series respond to a series of messages that seek to reinforce values in children, through the formula of continuous repetition of a message, changing the negative to the positive. With regard to the semiothic, saturated and intense colors, unique locations and symbols that identify each character are worked, each hero has a color and a symbol., Este trabajo investigativo analiza el discurso de la serie infantil PJ Masks o Héroes en pijamas. El objetivo de nuestro estudio es determinar los recursos visuales y lingüísticos utilizados en la construcción del mensaje. Este análisis nos permitirá reconocer las características discursivas recurrentes, respecto al lenguaje utilizado y los elementos de la semiótica visual, que permiten una respuesta positiva del público infantil. Se propuso una metodología cualitativa a través de fichas de observación y análisis de discurso y se identificaron las características lingüísticas y gráficas presentes en las dos temporadas de la serie infantil. En la serie reconocemos un lenguaje sencillo, palabras y frases que se repiten en todos los episodios. El mensaje gira en relación con un problema que debe enfrentar uno de los héroes, los conflictos que este le crean y cómo con el apoyo de sus amigos lo supera. La parte semiótica visual refuerza el discurso, permite que las niñas y los niños identifiquen los colores del vestuario y los lugares especiales. Las estrategias discursivas empleadas en la serie PJ Mask responden a una serie de mensajes que buscan reforzar valores en las niñas y los niños, a través de la fórmula de repetición continua de un mensaje cambiando lo negativo a positivo. Con respecto a lo semiótico se trabajan colores saturados e intensos, locaciones únicas y símbolos que identifican a cada personaje, cada héroe tiene un color y un símbolo.

The article considers the use of precedent phenomena that originate from cartoons in contemporary po-litical discourse, В статье на примере мультипликационных фильмов рассматривается использование прецедентных феноменов в современном политическом дискурсе.

La United Productions of America, o UPA, fue un estudio de animación que se mantuvo activo entre 1944 y 1959. Durante su recorrido cosechó tres premios Oscar y quince nominaciones, y fue el estudio de animación más influyente de la época en cuanto a diseño, dirección de arte, y publicidad. Con su espíritu anticlásico, sofisticado y rompedor, la UPA fue a la animación como la escuela de la Bauhaus al diseño del siglo XX. Fue fundado por tres empleados de Disney que fueron despedidos durante la huelga de 1941: Dave Hilberman, Zack Schwartz y Stephen Bosustow, aunque al cabo de poco tiempo Stephen Bosustow quedó como productor. Columbia Pictures distribuía sus películas bajo el sello Jolly Frolics, y también produjeron una serie con personaje recurrente: Mr. Magoo (1949-). Algunos directores importantes en el estudio fueron Bob Cannon (1909-1964), que ganó un Oscar por Gerald McBoing Boing (1950), y John Hubley (1914-1977), que dirigió Rooty Toot Toot (1951). El estudio inició su declive tras el establecimiento de las ¿listas negras¿ de Hollywood durante el Macartismo, y finalmente, bajo la supervisión del productor Henry Saperstein, se cerró la unidad de animación en 1960.

Con el objetivo de comprender qué imagen de la Revolución rusa ofrecieron los periódicos de Madrid, el artículo estudia las viñetas que los diarios madrileños publicaron sobre Rusia a lo largo de 1917. Para ello se ha realizado un análisis de contenido de 84 viñetas publicadas desde el estallido de la primera revolución (febrero en Rusia, marzo en España) hasta finales de año en nueve periódicos, tanto liberales como conservadores, descubriendo que los ilustradores conectaron la Revolución rusa con la realidad española y destacaron, entre todos los acontecimientos revolucionarios, la abdicación del zar Nicolás II y la participación de Rusia en la Primera Guerra Mundial., With the aim of understanding what image of the Russian revolution published the newspapers of Madrid, this article studies the cartoons of the Madrid press about Russia printed throughout 1917. For this purpose, a content analysis of 84 cartoons published since the outbreak of the first revolution (February in Russia, March in Spain) until the end of the year in nine newspapers, liberals and conservatives, has been carried out, finding that the Spanish cartoonists linked Russian revolution with Spanish reality and emphasized, among all the revolutionary events, the abdication of the tsar Nicholas II and Russia’s participation in the First World War.