Iconographic Approach: A Study in Langkawit Strip Cartoon
Imelda Ann Achin1*, Oscar Gordon Wong1, Addley Bromeo Bianus1
1 Academy of Arts and Creative Technology, Universiti Malaysia Sabah
*Corresponding Author: [email protected] Accepted: 15 September 2022 | Published: 1 October 2022
DOI:https://doi.org/10.55057/ijares.2022.4.3.11
__________________________________________________________________________________________
Abstract: This research aims to analyze the function of images in linking current issues through Langkawit's cartoons. This study only focuses on studying two strip cartoons that contain images of animals drawn by Langkawit. This research uses the theory of Erwin Panofsky (1955) to understand the meaning of Langkawit's cartoon strips. This theory includes the level of pre-iconography, iconography analysis and iconological interpretation in assessing the diversity of animal imagery symbols expressed by Langkawit's strip cartoon. A semi-structured interview is conducted by interviewing Langkawit about the cartoon publication. Secondary data is obtained through printed materials such as library references, journals, theses, books, reports, newspapers and articles. This study found that the images of animals in strip cartoons have a symbolic function of giving or criticizing the social and political issues, as performed by Langkawit through his cartoons.
Keywords: Strip cartoons, animal image, Sabah cartoonist, symbolic
___________________________________________________________________________
1. Introduction
The use of animal images in cartoon storytelling is a well-known theme and style in the field of visual arts. In fact, the use of animal images is widely used throughout the world. Animal images in cartoons are often depicted as animal characters with human characteristics that can speak and can perform human activities (Nurhasma, Kartina & Rosni, 2009). Cartoon strip refers a lot to folklore and traditional literature in highlighting moral values and role models that can be emulated by humans. Therefore, strip cartoons are not only used as entertainment material but can also be educational material. One of Sabah's cartoonists who uses animal symbolism is Langkawit to give an allegorical picture of current issues happening in Malaysia, especially Sabah. Using theory of Erwin Panofsky (1955), includes the level of pre- iconography, iconography analysis and iconological interpretation this research aims to analyze the function of images in linking current issues through Langkawit's cartoons.
2. Literature Review
Comic strip defines cartoons as an arrangement of illustrated paintings. This painting is also arranged horizontally so that it can be read according to chronological order. The storyline of this cartoon is original and followed by text elements adjacent to each image used or combined.
When the text is more widely used than the image, this cartoon is considered to be an illustration to the text. Cartoons are generally media printed in newspapers, magazines or
books. Cartoons are also defined as comics that contain text and are written in a dialogue column on each image frame Kunzle (2017).
Mey (2006) in his writing titled Comics: Pragmatics, states that cartoons are narrative in a form resulting from a combination of written text and pictorial drawings. A cartoon is a series of pictures resulting from a combination of interconnected texts that have a direct relationship with the previous unit. This arrangement is a reference network. Compared to the production of mass media series such as drama series or books and movies, serial cartoons have a continuous main pattern. A good cartoon narrative is the interdependence of illustrations and written text.
The use of animal images in cartoon storytelling is a well-known theme and style in the field of visual arts. In fact, the use of animal images is widely used throughout the world. Animal images in cartoons are often depicted as animal characters with human characteristics that can speak and can perform human activities (Nurhasma, Kartina & Rosni, 2009). Cartoon strip refers a lot to folklore and traditional literature in highlighting moral values and role models that can be emulated by humans. Therefore, strip cartoons are not only used as entertainment material but can also be educational material (Muliyadi Mahamood, 2010b).
In a book called The Type of Folklate, animal stories carry a theme of folk literature known for its exemplary and entertaining nature. This theme is suitable for children (Antti Aarne &
Stith Thompson, 1964). Therefore, the animal characters used in cartoons often bring an exemplary value that can be emulated and lessons that can be learned for humans. However, the symbols found on animal images in cartoons can create a wrong perception by society.
This is so because the symbol may be interpreted as an element of insult. This statement is supported by Maizatul Azura and Ainal Akmar (2015) who state that the image of animals in strip cartoons can be misunderstood and this situation can cause the sensitivity of the community to be affected.
According to Arifin Said (1996), the character carried by this animal is symbolized as weak and small. Man functions only as a side disposition just like a wanderer or hunter. The disposition in the story of the customary man consists of the animal who plays the role of the main character. Animal stories are quite well known and can be taken as an example and teaching among children. In animal stories, the theme or style is often focused on the interplay between humans and animals. There are also animals who are eared with fellow animal. Animal who is small and weak is always shown to be able to defeat animal who is big and strong.
Generally, the appearance of images in a cartoon story is drawn in a number of frames that are read consecutively. The style and theme of strip cartoons also present characters specifically, compared to editorial cartoons that feature more story images in one frame only, and this cartoon style focuses more on current sociopolitical issues through different characters or figures (Muliyadi Mahamood, 2008).
Erwin Panosfsky’s Theory: Iconography
This study uses Erwin Panofsky (1892–1968) method. Through the iconographic approach also called iconology is a method of analyzing images by making an in-depth interpretation to obtain meaning from the depiction of symbols related to the socio-culture of society. In the 14th to 17th centuries in Italy, i.e. during the Renaissance, the term iconography was widely used in which art critics at that time used iconography to interpret art through painting or
sculpture as a religious activity in the Orthodox Christian church (Ismail Ibrahim & Mohd Puad Bebit, 2009).
Through the writing of Ismail Ibrahim and Mohd Puad Bebit (2009) citing Rathus (1992), iconography is a learning involving symbolism in the field of visual arts. This iconographic process involves closely related images in the basic works of visual art. Muliyadi Mahamood (2010a) through his writing entitled Dunia Kartun also suggests that in understanding the layers of meaning of cartoons is through the approach of Erwin Panofsky (1892-1968).
Muliyadi (2010a) added, the appearance of symbols in cartoons may be closely related to the beliefs and culture of the community depicted by the cartoonist.
Erwin Panofsky (1939) in his paper entitled Meaning in the Visual Arts originally published as Studies in Iconology suggested that the process of understanding art is divided into three levels. The first level is the primary or natural subject matter involving primary or natural objects, second level is the secondary or conventional subject matter, and the third level is referred to as the intrinsic meaning. Therefore, Panofsky's approach uses as one of the main theories to interpret the layers of meaning in the cartoon work by Langkawit.
In the first process, appreciation from an external angle needs to be taken into account as a process of identifying the basic properties of objects and events displayed by Langkawit. This stage also involves how the Langkawit drawing style can be a main subject by connecting it through various aspects of historical events presented visually.
The second process is the use of stories, images and metaphors displayed by Langkawit through his strip cartoons which will be interpreted by the researcher. Thus, the researcher must master the understanding of literature sources or matters related to concepts and themes found in a certain environment and culture. This understanding is very important in research so that analysis and interpretation of meaning can be made at this stage.
Next, the third-level research process will take into account the understanding of the intrinsic meaning found in Langkawit's strip cartoons. This stage is a challenging process because this interpretation requires the researcher to interpret the diversity of symbols expressed by Langkawit. It may be related to the psychological, sociological and style characteristics of Langkawit.
Table 1: The interplay of objects, acts of interpretation and keywords in the theory of Erwin Panofsky
Object Interpretation Interpretation Actions Keywords Natural or primary objects Pre-iconography Objects, events Conventional or secondary
matter Iconography analysis Images, stories, allusions
Intrinsic meaning or content Iconological interpretation
Interpretation, interpretation, symbols, psychology, sociology, style, belief, culture
Langkawit: Sabah Cartoonist
David Buku Suning or better known as Langkawit is a local cartoonist in Sabah who has long ventured into the art of editorial cartoons and cartoons. Ismail Ibrahim (2005) described
Langkawit as a cartoonist who is sensitive to current issues in Sabah. In 1994 until 2014, Langkawit has successfully produced 17 series of serial cartoons. From 1995 to 2005, Langkawit was also active in presenting his work through a cartoon exhibition organized by the Sabah Art Gallery. As a result of this active involvement, the name of Langkawit has soared to the point where it successfully received the "Best User Cartoon" award in the Mass Media Award in 1997.
In addition, Langkawit stated that strip cartoons are works that challenge the mind as well as being unique and sophisticated. Langkawit added, cartoons can be used as a tool to rebel, oppose, support, distort and sometimes be illogical to the human mind. Langkawit also thinks that cartoons can be used as a rhetorical tool, change the world view, raise the spirit of the people in the demand for independence and belittle the country's leaders.
3. Findings
In general, animal images in cartoons have many types of themes or styles to convey to the viewer either 'coding' or 'decoding' for the use of various emotional effects (Baha Zain, 215).
Therefore, cartoons can have political or social issues (Fairrington, 2009). Appreciation of strip cartoons should emphasize cultural factors such as socio politics, economy, culture and the policies of the print media that publish them (Muliyadi Mahamood, 2008).
In the psychological aspect, personal experience is the main subject in the production of works which are related to aspects of sociology and the social system. Because these cartoonists live in a cultural system, they refer a lot from their own experiences as subjects of inspiration and sources of ideas (Muliyadi Mahamood, 2010b). Based on this statement, the researcher found that Langkawi's childhood was exposed to elements of the Kadazandusun tribe and influenced by elements of the village and the relationship with animals. For example, the Kadazandusun community relies heavily on buffalo because this animal is considered to be an animal that is very close to humans. Therefore, buffalo are used as sogit1 practices, ritual practices, labor in agriculture and marriage gifts. As a result, the animals found in Sabah are used by Langkawit through the channel of his cartoon artwork.
However, some people still do not understand the meaning behind the use of animal images in Langkawit cartoons. Therefore, the image of this animal can be bad or negative when the image used is misinterpreted. With that, the researcher will use four strip cartoons by Langkawit to analyze through iconological approach.
In the psychological aspect, self-experience makes the main subject in the income of works which are related to aspects of sociology and social systems. Because these cartoonists live in a cultural system, they refer more than their own experiences as subjects of inspiration and sources of ideas (Muliyadi Mahamood, 2010b). Based on this fact, the study finds that the Langkawit childhood expose a lot with elements of the Kadazandusun tribe therefore, his cartoons much influenced by elements of the village and the relationship with animal. For example, the Kadazandusun community relies on buffalo because this animal is considered to be a very close animal with humans. Therefore, buffalo is used as a practice of sogit, ritual practice, labor in agriculture and giving marriage. The impression is that the animal found in Sabah is used by Langkawit in the channel of his cartoon artwork.
1 Sogit which means a fine for following ethnic customs in Sabah, especially the Kadazandusun tribe.
However, people still do not recognize the meaning of the image of animal in the Langkawit’s strip cartoon. Thus, this image can be bad or negative if the image used, is misinterpreted. With that, the reviewer will use two strip cartoons by Langkawit that used animal images to explore and analyze through iconographic and iconological approaches.
Sociocultural Value
Figure 1: Frames (i), (ii), (iii), (iv) and (v) are narratives of stories in sociocultural values Source: Langkawit publication, Aramai iti (2002: 12)
Caption Translation BOY : NAA.., NOONTOK..!
: INAAA!!! APAAA!!
DAD : LAGKASO' INO GARUNG NU...!
MOTHER : KONOU MONGOI TOLOP HILO'D ONION.. *GUSAON NOPO DO POTIUKAN, TUMOLOP NO'D HILO'D WOIG.
BOY : WELL, HIT IT ALREADY!
:MOTHER!!! FATHER!!
DAD : UNDRESS YOURSELF!
MOTHER : LET'S GO DIVE INTO THE RIVER.. *CHASE BY BEES CONTINUE TO ENTER THE WATER.
At the pre-iconographic level, the entire cartoon story has five pictorial frames. Frame (i) from the reading or view from left to right to the bottom view, i.e. frame (v) shows that each frame used has a different size. In terms of frame angles, Langkawit uses a medium long shot angle on frame (i), medium shot on frame (ii) and (iii), full shot or long shot on frame (iv) and (v).
The picture of this cartoon frame gives rise to the design aspect of emphasis and contrast on the frame (v) which is the punch line in this cartoon. Emanata2 effects are widely used by Langkawit to show elements of character movement, emotional effects and representation of verbal effects or dialogues of each sketched character. For example, the effect of emanata can be seen on the character of the boy and his parent who are surrounded by straight line sketches that are elongated, broken, wavy and a variety of lines are used to show the effect of fast and
2 Comic language that refers to the use of icon representations in cartoons.
slow movement. As for emanata in emotion, Langkawit uses the exclamation mark symbol as a surprise effect on the character.
In character and characteristic, Langkawit sketched three different characters consisting of the boy and his parent and a group of bees. The bees character used is characteristic of the animal in its habitat and world. In addition, Langkawit sketch the character of bees by using dotted line elements to create the image of a large group of bees. The character of bees also seems to attack anyone when the nest is disturbed. This image can be seen in Diagram 2, which is a group of bees that attacked humans without regard for anyone when their nest was thrown using stones by the boy.
Furthermore, Langkawit drew the figure of a little boy who has a mischievous character and is less sensitive to his surroundings. This little boy figure is also depicted as having a traditional game object in Sabah which is a catapult. This image can be seen through the sketch of the action of the boy who is catapulting the beehive. This situation causes people around him to suffer.
In addition, Langkawit portrays an adult figure, which is the character of the parent, who are physically a little thin and each wears a hat. In addition to the disposition of the father who wears the farmer's hat, the mother's disposition is also seen wearing a sirung, which is the hat of the Kadazandusun people in Sabah. This situation clearly shows that they are carrying out agricultural activities in the village area. In addition to the language used, it is clear that the dispositions used also display the Kadazandusun culture itself.
In terms of background behavior, Langkawit also draw the background of an empty and spacious room. The backgrounds of all these cartoon frames have only a few smooth lines and are free to create the impression of natural objects. In addition, Langkawit depicts the setting of the place in this strip cartoon through the setting of a large forest area with the presence of subjects such as beehive and river, and observations of the verbal aspects of the mother's character. In addition, Langkawit also emphasized the background aspects of this cartoon story equipment, namely the behavior of the catapult object used by the boy and the logs used by the boy's parent which functioned as tools in working on their agricultural products in the forest area.
In the narration of this strip cartoon, Langkawit sketched the little boy catapulting towards the target by using his catapult on frame (i). Langkawit uses elements of parallel movement lines in the catapult game to show the speed of movement of the catapulted stone. The use of parallel lines towards the hornet's nest can be seen in frame (ii) and this gives the impression of the stone being thrown towards the hornet's nest. In addition, the effect of this emanata can be observed through the sound effect of "Zupp!" to describe the speed of the stone thrown by the little boy. Well, hit it already!" said the little boy.
Next in frame (iii), Langkawit sketches the figure of the boy with a surprised expression and a sketch of his mouth wide open. Langkawit also uses sharp vertical lines in the boy's hair to create emotional effects of shock and fear. The use of thick lines on the exclamation mark symbol by Langkawit serves to indicate warning and vigilance. In frame (iv), Langkawit depicts the figure of the boy struggling to escape from an attack by a group of bees. "Mother father!!!" said the little boy screaming for help.
In frame (v), Langkawit depicts the character of a parent who is running to save herself from the bee attack. The use of the dialogue found above the parent's disposition also shows a barbed line that serves to create a very strong sense of screaming sound. "Undress you!" The father said to his son who was fleeing from the bee attack. "Let's go dive into the river," the mother told her child. Thus, Langkawit weathered the state of the slave who was unclothed while saving himself from the bee attack. In fact, Langkawit also produced the text "chased by bees, let’s go dive into the river" for the punch line element on the frame (v).
In the iconography level, this cartoon is themed around the delinquency of the boy with his games, which brings problems to both parents. The reviewer found that the cartoons carried out by Langkawit were the result of a passage from the Malay proverb "don’t poke the beehive”
which meant not to occasionally seek trouble by interfering with anyone or something that could trigger problems.
This fact is supported by Muliyadi Mahmoood (2010b) who states that cartoons produced since pre-independence times are again full of symbolic values depicted in conclusions of language, rhymes and verses. Abdullah Hussain (2006) states that most of the proverbs and conclusions produced are the experiences of our grandmothers who used to live mostly farming and meeting each other with animals. If the beehive are vandalized or disturbed, these bees will attack anyone who is around them. That's where this proverb taken, which is "beehive should not be cornered."
Langkawit tried to reiterate the days of his rather mischievous once caused the situation of those around him to become scorching. This situation caused Langkawit want to reveal the value of nostalgic and cultural elements rather than his own society. This fact is supported by Muliyadi Mahamood (2010b) who stated that one of the characteristics of cartoonists is the ability to explore the realm of life and environment in detail again memorable. This includes the patterns of life and culture that are associated in the relationship between humans and humans, or with other creatures and objects such as animals and plants. Many cartoonists paint self-experience as the subject of the work because experience is the most important source of inspiration.
In the iconological interpretations, Langkawit produces a cartoon that is easy to understand, which is the situation of the boy who poses a problem with his catapult playing tools. Langkawit uses bees to symbolize the dangers where these bees have a painful sting if stung. The overall theme is trying to tell you that don't occasionally look for trouble by interfering with anyone or something that can trigger a problem. Langkawit in his work tell that early childhood education needs to be given attention that every act needs to be monitored by the parent. Parent play an important role so that children do not do things beyond their reach and do not nominate their good name.
Political Value
Figure 2: Frames (i), (ii), (iii), and (iv) is a sequence of stories in political values Source: Langkawit comic publication, Kasi Buli Saja (2014: 39)
Caption Translation
FRAME (i) : BAAASAR UMPAN.. KEEECIL MATA PANCING- DERMAWAN FRAME (ii): BAASAR MATA PANCING, KEECIL UMPAN- PELUKI
FRAME (iii): BAASAR MATA PANCING, BAASAR UMPAN- BELUM TAU JUJUR FRAME (iv): BOS.. BOSS.., TINI NDA BULI BIKIN UMPAN BA.. BUYUK..
FRAME (i): BIG BAIT, SMALL HOOK – GENEROUS FRAME (ii): BIG HOOK, SMALL BAIT – STINGY
FRAME (iii): BIG HOOK, BIG BAIT – NOT NECESSARILY HONEST
FRAME (iv): BOSS.. BOSS.. THIS SHOULD NOT BE BAITED.. THIS IS A FRAUD..
In the pre-iconographic level, this cartoon story has four frames of pictorial drawings. Frame (i) from the left reading or view to the right of frame (ii), (iii) and (iv) shows that the frames used have different sizes. Frames (i) and (ii) show that the size of the frame used is the same, while the use of frame (iii) shows a slightly larger size, but frame (iv), which is the punch line in this cartoon, uses a larger space than the entire frame. In terms of the use of frame angles, Langkawit uses close-up angles on frames (i), (ii) and (iii) which focus more on the subject of the hook. Langkawit only uses full shot on frame (iv). The effect of emanata can be seen in the character of the frog and the sketch of the human figure by using movement lines to produce movement in the limbs.
In character and characteristic, Langkawit sketched two different characters consisting of the character of a frog and a fisherman. The frog characters used by Langkawi are characterized by animals that can speak like humans and interact with each other. In fact, this frog also has the ability to reject money-shaped bait given by anglers. In addition, Langkawit also uses dotted lines to create a braided effect on the frog's body. Next, the fisherman character is sketched as an adult man with a fishing rod. This angler character also has various tricks in fishing. This can be seen when this fishing character uses various baits on his hook such as fried chicken in frame (i), small-sized chicken in frame (ii) and ringgit money in frame (iii).
From the perspective of the place setting, Langkawit draws a picture in the water and the river area. This image in the water can be seen with the presence of wavy line elements to create the effect of water movement. The riverside area can be seen through the sketch of the figure of a man fishing. In addition, from the aspect of the background of the equipment of this strip cartoon story is the fishing rod and hook used by the fisherman.
In the iconographic level, Langkawit conveys a message through his cartoons by using the subject of a large fried chicken but the hook is not visible. Thus, Langkawit states that "biigg bait.. small hook" in frame (i) carries the symbolism of being a 'philanthropist'. In addition, Langkawit uses a close-up angle on a large hook but the chicken bait used is small. Langkawit states that "bigg hook, smmalll bait" in frame (ii) carries the symbolism of a person who is stingy, while in frame (iii) Langkawit uses the subject of money in the use of the text 'RM' which is attached to the hook. In fact, Langkawit also drew a frog that wanted to reach the ringgit money hung on a hook. Langkawit states that "big hook, bigg bait" carries symbolism as a person who is not necessarily honest.
The next story in the strip cartoon in frame (iv) causes the frog to have jumped out of the river while holding a ringgit money hung on a hook. This frog is also seen jumping towards the angler. "Boss, boss, this cannot be used as bait, this is a fraud" said the frog to the fisherman.
The fisherman also showed a surprised expression and caused him to jump when he saw the behavior of the frog.
Through the observation of this study, this strip cartoon satirizes a group of politicians in Sabah.
The use of the hook as a symbolic subject in gaining support from the public. Thus, this political theme can be seen through the difference in the type of bait used. For example on frame (i), although seen to have a charitable value, but if seen implicitly, it still uses a hook. Therefore, this is what is considered as gaining support from the public especially when it comes to the general election. These politicians will try to get support from the people through the contributions they give. This is clear through the depiction of frame (i) where the subject used which is a bigger bait will make people think of him as a philanthropist. In frame (ii) on the other hand, the situation of gaining support is so obvious that the hook is so clearly visible.
This image can be seen through the result of his contribution to the people so little that they consider him as a stingy politician. However, when it comes to politicians who use the same big hook and money, Langkawit uses frame (iii) of this strip cartoon as a symbol of dishonest people in politics.
4. Conclusion
Overall, the Langkawit cartoons have various styles and themes, while also being decorated with elements of humor. The appearance of the symbols in his cartoon may be closely related to the social and cultural aspects of the community depicted by Langkawit. Langkawit also enlivens the nostalgic and cultural elements of the Kadazandusun community in Sabah. Reviews in Langkawit cartoons show that as depicted in editorial cartoons, Langkawit strip cartoons also have an important role in reflecting the pattern of people's and cultural life, in addition to highlighting issues in the context of the country's social history. Although the Kadazandusun language used by Langkawit can only be understood by a few people, this cartoon can be used as a reference material for future generations. In addition, the results of the studies and documentation in Langkawit's strip cartoons are important and useful to our local cartoonists who are still new in the arena of strip cartoon. Other local cartoonists were also able to explore it by using the approach of the concept of sociocultural subtlety in addition
to being able to preserve the sociocultural nostalgia that was almost drowned out through the channels of Langkawit's cartoons.
Acknowledge
The authors would like to thank Universiti Malaysia Sabah for supporting this research through Grant SBK0516-2022.
Reference
Achin, I. A. (2016). Analisis Isu Politik Melalui Kartun Editorial Mingo Dalam Akhbar The Sabah Times. Jurnal Gendang Alam. (GA), 4. https://doi.org/10.51200/ga.v4i.289 A. Annti & T. Stith. (1964). The type of folktale. Helsinki: Hoh, Rinehert and Winston Inc.
Ann Achin, Imelda; Bromeo Bianus, Addley; Asilah Kamisin, Asilah Kamisin1. Shape and Colour Analysis in Animated Film Wheely (2018) Characters. International Journal of Advanced Research in Education and Society, [S.l.], v. 3, n. 3, p. 181-194, nov.
2021. ISSN 2682-8138. Available at:
<https://myjms.mohe.gov.my/index.php/ijares/article/view/16063>
Abdullah Hussain. (2006). Canai budi. Kuala Lumpur: Dewan Bahasa dan Pustaka.
Aripin Said. (1996). Prosa warisan. Kuala Lumpur: Dewan Bahasa dan Pustaka.
Bianus, A. B. B., & Achin, I. A. B. 2012.Analisis Isu-isu Semasa Pada Tahun 1966 dan 1967 Melalui Karya Kartunis ‘Mingo’.Jurnal MANU. Volume 18,2012, Pages 173 to 201 Che Abdullah Che Ya. (2016). Gambaran konflik politik dalam kalangan masyarakat
Sabah. Malaysia Journal of Society and Space, 12 (11), 16–28.
David M. Kunzle. (2017). Comic Strip, https://www.britannica.com/art/comic-strip. 8 Mac.
2018
Fairington, Brian. (2009). Drawing cartoons and comics for dummies. Canada: Wiley Publication Inc.
Hannah Kong Nyuk Fun, Imelda Ann Achin, & Addley Bromeo Bianus. (2022). THE INTERPRETATION OF SIGNS ON PROJECTION ART OF VEIL OF AN ARTIST AND A FICTIONAL DIALOGUE. Jurnal Gendang Alam (GA), 131–146. Retrieved from https://jurcon.ums.edu.my/ojums/index.php/GA/article/view/3833
Ismail Hj. Ibrahim. (2005). Sejarah perkembangan seni lukis Sabah. Kota Kinabalu:
Universiti Malaysia Sabah.
Kamisin, A, & Achin, I. A. (2020). Analisis Personaliti Karekter Protagonis dan Antagonis melalui Bentuk dan Warna dalam Filem Animasi Wheely(2018) Jurnal Gendang Alam (GA). https://doi.org/10.51200/ga.vi.2823
Langkawit. (2002). Langkawit Rinkut-rukut. Kota Kinabalu: Kadazandusun Language Foundation.
Langkawit. (2002). Langkawit Aramai Iti. Kota Kinabalu: Kadazandusun Language Foundation.
Langkawit. (2014). Langkawit Kasi Buli Saja. Kota Kinabalu: David Buku Sooning@
Langkawit
Maizatul Azura & Ainal Akmar. (2015). Citra masyarakat Malaysia dalam kartun Jaafar Taib.
Kertas Prosiding Kuala Lumpur International Communication, Education, Language and Social Sciences 1 (KLiCELS1), 6–7 Jun, 2015. Hotel Putra, Kuala Lumpur, Malaysia.
Mey, K. A. L. (2006). Comics: Pragmatics. Oxford: United Kingdom: Elsevier.
Mohammad Puad Bebit. (2009). Transformasi sosiobudaya seni kartun Sabah dalam karya kartunis Langkawit. Kertas Prosiding Persidangan Seni Kebangsaan, pada 24–25 Julai 2009, Sekolah Pengajian Seni, Universiti Malaysia Sabah, Kota Kinabalu.
Muliyadi Mahamood. (2008). Perkembangan kartun strip Melayu: Cerminan kehidupan masyarakat dan budaya. Kertas Kerja Prosiding Sidang Seni SINI 08. Balai Seni Lukis Negara, Kuala Lumpur. 19–20 Ogos, Kementerian Perpaduan, Kebudayaan, Kesenian dan Warisan Malaysia dan Balai Seni Lukis Negara.
Muliyadi Mahamood. (2010a). Dunia kartun: Menyingkap pelbagai aspek seni kartun dunia dan tempatan. Shah Alam, Selangor Darul Ehsan: Pusat Penerbitan Universiti (UPENA), Universiti Teknologi MARA.
Muliyadi Mahamood. (2010b). Kartun editorial Melayu sejak 1990. Kuala Lumpur: Creative Enterprise Sdn Bhd.
Nurhasma, Kartina & Rosni. (2009). Fungsi cerita binatang dalam sastera kanakkanak Melayu- Arab. Language and culture: Creating and fostering global communities. Proceedings of the Seventh International Conference. 5–6 Mei 2009. Putrajaya.
Oscar Gordon Wong, & Imelda Ann Achin. (2021). ARKA WATAK ADIWIRA
BOBOIBOY: FASA PERUBAHAN DALAM MODEL NARATIF
CHRISTOPHER. Jurnal Gendang Alam (GA). https://doi.org/10.51200/ga.vi.3282 Oscar Gordon Wong, Imelda Ann Achin. The Hero’s Journey: 12 Stages in The Narrative of
Animation Boboiboy Movie 2. MUDRA Jurnal Seni Budaya Volume 36, Nomor 3, September 2021. p 316 – 325, https://doi.org/10.31091/mudra.v36i3.1580
Panofsky, E. (1955). Meaning in the visual arts. New York: Doubleday Anchor Books, Doubleday & Company, Inc.
Panofsky, E. (2009). Perspective as symbolic form. New York: Zone Books.
Panofsky, E. (2010). Studies in iconology: Humanistic themes in the art of the renaissance.
Boulder, Colorado: Westview Press.
Pepper, S. C., & Hauser, A. (1959). The philosophy of art history. College Art Journal, 19 (2), 187.
Rathus, L.F. (1992). Understanding art (3rd ed.). New Jersey: Prentice Hall.
Utusan Malaysia. (2014). Kejadian Ombak Merah di Persisiran Pantai, 10 Mac 2014.
