Seeing things like Hunter: Ralph Steadman’s cartoon visions as revelatory masks in Fear and Loathing in Las Vegas
- Submitting institution
-
Nottingham Trent University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 47 - 1201848
- Type
- C - Chapter in book
- DOI
-
-
- Book title
- Masks: Bowie and artists of artifice
- Publisher
- Intellect
- ISBN
- 9781789381085
- Open access status
- Out of scope for open access requirements
- Month of publication
- August
- Year of publication
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
C - Fashion and Textiles Research Centre
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The originality of this research comes from the cultural studies approach applied to the relationship between text and image in the Rolling Stone article (that was republished as a novel) Fear and Loathing in Las Vegas (1971), which analyses Ralph Steadman’s cartoons of Hunter S. Thompson as a form of ‘mask’ that initially caricatured and then came to define public perception of the writer. Contextualised by the collaborative relationship between artist and writer, the chapter draws upon theories from visual culture studies, literary criticism and emerging research from the social sciences into cross-modal correspondences.
The chapter is significant in relation to my research focussing upon alternate ways of understanding and utilising sight (including limited sight) and the process of seeing in relation to cross-sensory or cross-modal experiences. Cross-modality has been recognised as a significant influence underpinning the decision-making processes of graphic designers, such as in the selection and use of typography and the visual-verbal components that influence experience of the resulting work. This expands the potential for innovative and original analysis within art and design informed by sensory studies and the growing impact of interdisciplinarity in research.
The chapter draws upon selective theories from sensory studies explored in an article about cross-sensory transfer across media, peer reviewed and published in Fashion Theory under the title ‘Eyes, Sight and the Senses on Film and in Fashion’ (2018). The chapter was commissioned, in part, due to my peer reviewed chapter ‘The Eyes of David Bowie’ (2015) that featured within an edited collection published by Bloomsbury, titled Enchanting David Bowie: Space, Time, Body and Memory, and earlier research into the Steadman and Thompson collaborative relationship, titled ‘Gonzo by Design: Aesthetics Under the Influence of Hunter S. Thompson’ (2013) published as conference proceedings from the Redefining Research conference at NTU, 8th July 2010.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
