A historiografia pesquisou o PCB a partir de sua militância, sua atuação eleitoral, sua ideologia, sua relação com a URSS etc, mas ignorou a importância das imagens difundidas pela imprensa partidária, aspecto fundamental da propaganda: principalmente em um país com altos índices de analfabetismo. Esta pesquisa pretende estudar a trajetória do PCB por meio da análise dos desenhos, caricaturas, charges e ilustrações presentes na imprensa comunista. As transformações, características, omissões e referências da iconografia comunista formam uma verdadeira história ilustrada do partido e contribuem para o estudo de novos problemas e perspectivas da história do PCB. A periodização enfatiza o momento de maior crescimento da legenda, da redemocratização de 1945 até o golpe de 1964, que desmantelou a estrutura partidária, condenou ao exílio parte dos militantes e torturou milhares de comunistas. / Historiography researched the PCB from its militancy, its electoral performance, its ideology, its relationship with the USSR, etc. However, ignored the importance of the images published by the party press, a key aspect of propaganda: especially in a country with high illiteracy rates. This research aims to study the trajectory of the PCB through the analysis of drawings, caricatures, cartoons and illustrations present in the communist press. The changes, features, omissions and references of this communist iconography form a true \"illustrated\" history of the party and contribute to the study of new problems and perspectives of the history of PCB. The periodization emphasizes the moment of greatest growth of the legend, the democratization of 1945 until the coup of 1964, which dismantled the party structure, ordered the exile of the militants and tortured thousands of communists.

Cette thèse se donne pour ambition d'éclairer un aspect méconnu de l'oeuvre et de la pensée de Sergueï Eisenstein, en se concentrant sur la relation privilégiée qu'il entretient durant toute sa vie avec l'art de Daumier. Tout en traversant l'oeuvre graphique, théâtrale, cinématographique et théorique d'Eisenstein, cette recherche entend également révéler Daumier sous un nouveau jour, en faisant découvrir la réception dont il jouit en Russie et en U.R.S.S. Il s'agira par la même occasion d'exposer et d'interroger le regard stimulant et original qu'Eisenstein porte sur l'art de Daumier. Ce parcours se voudra nécessairement transdisciplinaire. / The aim of this PhD thesis is to cast a new light on Eisenstein's work and thought, by focusing on his privileged relationship with Daumier's art. As we will come across Eisenstein's graphic, theatrical, cinematographical and theoretical work, we will unveil Daumier's still unknown reception in Russia and in U.S.S.R. By the same token, we will expose and discuss Eisenstein's challenging and modern vision of Daumier. The methodology chosen here is necessarily transciplinar.

La caricature de mœurs fait définitivement son apparition à Madrid dans Gil Blas. Elle s'empare d'abord de la question féminine en se penchant sur la différence des corps. Les caricaturistes dénoncent les apparences fallacieuses du corps de la bourgeoise dans un déshabillage qui met en perspective un discours masculin sur les dépenses associées aux toilettes et livre un discours en creux sur la condition masculine à travers la critique du mariage. Le corps des femmes des classes populaires est marqué par le travail, la précarité, la vulnérabilité, la solitude. Autant de circonstances qui font planer le danger de l'entrée dans la prostitution, signifiée aussi par la ritualisation du corps empruntée à la silhouette de la cocotte. La caricature de mœurs s'oriente vers le terrain de l'érotico-festif en multipliant les figures de cocottes boulevardières. Celles-ci manifestent le nouveau statut de l'image commerciale de la femme. L'épaisseur sociale du corps féminin disparaît. Aux scènes de séduction où le caricaturiste déjoue le jeu hypocrite du marché de la chair, succède une représentation de la séduction de l'image. La prééminence de la cocotte manifeste l'avènement des nouveaux usages de la consommation. Dans la pluralité des images de la femme qui circulent dans la deuxième moitié du siècle, les caricatures diffusées massivement occupent une place décisive.

Each painting in this exhibition is a transformed documentation of a specific experience culled from my daily, ordinary life. These encounters are not monumental; however their impact is significant because of their disturbing, disgusting, puzzling and humourously entertaining qualities. The awkwardness and resulting ambiguity of my imagery is defined through connections to the uncanny, the surreal, the grotesque and the literary genre of tragicomedy. The work also acknowledges a strong relationship to historic traditions within painting and aspires to use comedy to provide an opportunity for viewers to retrieve and recreate a moment of personal history.

Morphable guidelines are a 3D structure that helps users achieve better face warping on 2D portrait images. Faces can be difficult to warp accurately because the rotation of the head affects the shape of the facial features. I bypass the problem by utilizing the popular Loomis ‘ball and plane’ head drawing guideline as a proxy structure. The resulting ‘morphable guidelines’ consist of a simple 3D head model that can be reshaped by the user and aligned to their input image. The vertices of the model go on to act as deformation points for a 2D image deformation algorithm. Thus, the user can seamlessly transform the face proportions in the 2D image by transforming the proportions of the morphable guidelines. This system can be used for both retouching and caricature warping purposes, as it is well-suited for both subtle and extreme modifications. This system is advantageous over previous work in face warping because our morphable guidelines can be used on a wide range of head orientations and do not require the generation of a full 3D model. / Graduate / 0984 / syugao@gmail.com

Each painting in this exhibition is a transformed documentation of a specific experience culled from my daily, ordinary life. These encounters are not monumental; however their impact is significant because of their disturbing, disgusting, puzzling and humourously entertaining qualities. The awkwardness and resulting ambiguity of my imagery is defined through connections to the uncanny, the surreal, the grotesque and the literary genre of tragicomedy. The work also acknowledges a strong relationship to historic traditions within painting and aspires to use comedy to provide an opportunity for viewers to retrieve and recreate a moment of personal history.

誇張肖像畫是以誇張與諷刺的手法來表現模特兒的特徵。現今這類畫作比起以寫實手法繪製的肖像畫，更受到大眾的喜愛；但是人們若想要自己模仿繪製出這類的肖像畫，除了要有繪畫天賦之外，也必須經過長時間的繪畫訓練以及對人臉的觀察，才能抓出模特兒的臉部特徵，並用生動的手法誇飾出來。 因此，如果電腦能做到代替誇張肖像畫家的工作，自動模仿繪製出誇張化的卡通肖像畫，將能替人們節省大量的時間及經費。本研究主要在設計一套能誇張肖像畫的系統，以根據使用者輸入的臉部影像，自動擷取臉部的特徵（包括特徵點的相對位置、絕對位置、形狀及大小等），並藉由分析這些特徵與常人相異之處，以一致的方式自動將特徵誇張化。這個系統並能以藝術家的作品為輸入，將使用者的臉部影像轉換成具有畫家卡通風格的誇張肖像畫。除了人臉的效果外，我們也進行了頭髮分離與模擬的研究，以強化畫像風格模擬的完整性。最後，我們以實做出了系統對數個具特徵的人臉影像進行實驗，以驗證其可行性及有效性。 / Caricaturists are good at drawing sketches which express the exaggerated likeness of a person with a bit flavor of humor or sarcasm. People are willing to pay for this kind of work because it requires a lot of practice to achieve excellence. Acute observation is needed to extract the distinct features from the subject, and decent painting skill is essential to depict these features vividly. It will save much time and effort if computers can be trained used to draw caricatures. In this thesis, we developed a system which can extract and analyze facial features from simple an input facial images. The main purpose of this system is to generate the user-own caricature model by exaggerating his/her unique facial features. Different types of features, including relative locations and sizes, absolute locations and sizes, and each the shape of features are all taken in accountwill be considered. Unlike the complex process reported in the literature, we develop a transformative process that can handle different types of features in a more uniform fashion. Using an artist’s finished work as the source image; the proposed system is capable of producing cartoon-like colorful caricatures of a similar style effectively and efficiently. Besides the caricature painting of the face part, we also present some approaches for hair segmentation and hair style painting to increase make the system more the completeness of our system. Finally, we prove the feasibility and effectiveness of our system by showing several experimental results.

The purpose of this bachelor’s thesis is to analyse how the American adult cartoon sitcom South Park (Parker & Stone, 1997) is criticising Donald J. Trump and his presidential campaign through the use of satire and the relative tools of satire. The show prominently features arguably bizarre plotlines and themes, with usually unexpected outcomes. The subject South Park and satire, both together and separated, has a fair share of previous research in articles and literature. However, South Park’s well-known, sharp, ruthless and absurd satire, in this case, towards Donald J. Trump has shown to be rather under-researched, probably due to the topic being still relatively fresh. Therefore, looking at how South Park effectively uses one of their own original characters, Mr. Garrison, to represent and satirise Donald J. Trump and his presidential campaign is motivated. The thesis is limited to only analysing two episodes from South Park season 19 (S19E02 & S19E08) and South Park season 20 including all ten episodes. South Park episodes does most of the times have two to three plot lines running simultaneously, thus this thesis also imitates itself to only analyse and focus on satire towards Donald J. Trump and his presidential campaign, and not analysing, for example the internet troll controversy based story, known as Skankhunt42. To be able to do a satirical analysis, this bachelor’s thesis has on forehand established a theory on what satire is, before analysing the satire. This is due to the term satire being a very loose and complex term, difficult to determine and encapsulate. This bachelor’s thesis is the result of a satirical analysis the satire of South Park towards Donald J. Trump and his presidential campaign, by uniquely using their original character Mr. Garrison to act as a satirical representation. It has through the analysis come to conclude that South Park as a show creates a solid satirisation throughout second, and eight episode of season 19, and every episode of season 20 until episode seven, Oh, Jeez!, where Donald J. Trump had only managed to become president-elect, but in the show, Mr. Garrison had actually become president. Making the satire redundant from that point.

Orientadores: Leonardo Affonso de Miranda Pereira, Sidney Chalhoub / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-08T06:14:47Z (GMT). No. of bitstreams: 1 Souza_KarenFernandaRodriguesde_M.pdf: 7150480 bytes, checksum: 6bdf4772713e9feec7ac3957cbf879a1 (MD5) Previous issue date: 2007 / Resumo: Este trabalho busca entender o modo pelo qual os escritores e desenhistas da Semana Illustrada, revista humorística que circulou no Rio de Janeiro entre os anos de 1860 e 1876, fizeram da publicação um meio de interagir com os debates sociais mais amplos do tempo. Através da análise dos artifícios literários que estruturavam sua narrativa, tenta mostrar como a caricatura e a crônica foram usadas como meio de educar as elites nacionais, de modo a aproximar o país de um ideal de civilização que tinha na Europa seu modelo. Para isso, discute como a folha representou, em diferentes momentos, as relações entre senhores e escravos, de modo a compreender as alternativas de futuro que eram nela apresentadas para a nação brasileira / Abstract: This dissertation attempt to comprehend how the writers and the designers of the Semana Illustrada, a humorist magazine that circulated in Rio de Janeiro between 1860- 1876, used the publications as way of interaction with the social discussions of the epoch. The work analises the literary stratagems that strutured their narrative, aiming demonstrate how the caricature and the cronic were used as a way of educate the national elites, approaching the country of a ideal of civilization that had the model in Europe. The work focuses in how the journal represented, in diferents moments, the relations between the owners and the slaves, to comprehend the alternatives of future presented by the magazine to brasilian nation / Mestrado / Mestre em História

A historiografia pesquisou o PCB a partir de sua militância, sua atuação eleitoral, sua ideologia, sua relação com a URSS etc, mas ignorou a importância das imagens difundidas pela imprensa partidária, aspecto fundamental da propaganda: principalmente em um país com altos índices de analfabetismo. Esta pesquisa pretende estudar a trajetória do PCB por meio da análise dos desenhos, caricaturas, charges e ilustrações presentes na imprensa comunista. As transformações, características, omissões e referências da iconografia comunista formam uma verdadeira história ilustrada do partido e contribuem para o estudo de novos problemas e perspectivas da história do PCB. A periodização enfatiza o momento de maior crescimento da legenda, da redemocratização de 1945 até o golpe de 1964, que desmantelou a estrutura partidária, condenou ao exílio parte dos militantes e torturou milhares de comunistas. / Historiography researched the PCB from its militancy, its electoral performance, its ideology, its relationship with the USSR, etc. However, ignored the importance of the images published by the party press, a key aspect of propaganda: especially in a country with high illiteracy rates. This research aims to study the trajectory of the PCB through the analysis of drawings, caricatures, cartoons and illustrations present in the communist press. The changes, features, omissions and references of this communist iconography form a true \"illustrated\" history of the party and contribute to the study of new problems and perspectives of the history of PCB. The periodization emphasizes the moment of greatest growth of the legend, the democratization of 1945 until the coup of 1964, which dismantled the party structure, ordered the exile of the militants and tortured thousands of communists.