Books by Rhiannon McGlade
In a world increasingly dominated by visual sensation, our understanding of the role and influenc... more In a world increasingly dominated by visual sensation, our understanding of the role and influence of comics and cartoon humor in popular culture has become essential. This book offers a critical and cognitive focus that captures the changing fortunes of Catalan humour production against the shifting political landscape in the period 1898–1982. It considers how Catalan satire has been influenced by periods of relative calm as well as censorship, violence, war and dictatorship, and among its key features is its presentation of a continued cartooning tradition that was not ended by the installation of the Franco dictatorship, but which rather continued in a number of adapted forms, playing its own role in the evolution of the period. Thus, as well as introducing the most representative cartoonists and publications, the Catalan example is used to explore broader aspects of this complex communication form, opening new avenues for cultural,
historical and socio-political research.
Available now:
http://www.uwp.co.uk/editions/9781783168040
OR
http://www.amazon.co.uk/Catalan-Cartoons-Cultural-Political-University/dp/1783168048
Journal Articles by Rhiannon McGlade
On 25 November 1905, three hundred soldiers from Barcelona’s garrison, incensed by the publicatio... more On 25 November 1905, three hundred soldiers from Barcelona’s garrison, incensed by the publication of a cartoon by Joan Junceda, attacked the offices of the Catalan satirical weekly Cu-Cut! and those of its sister daily, La Veu de Catalunya, beating employees and torching typewriters in the street. The incident, known as the “fets de Cu-Cut!,” sparked a chain of events that profoundly marked Catalan twentieth-century history. This article introduces readers to the start of the Golden Age for Catalan satirical production, and it offers a content analysis of Junceda’s cartoon with a discussion of the power of cartoon humor to both reflect and shape its sociopolitical context.
Keywords: Catalonia, Cu-Cut!, humor, political cartoons, satirical press
Book Chapters by Rhiannon McGlade
Catalonia lays claim to a rich, and yet relatively unknown, tradition for satirical publication a... more Catalonia lays claim to a rich, and yet relatively unknown, tradition for satirical publication and cartooning that was deeply imbricated in the twentieth-century social and political evolution of the region. These publications played a significant role in using humour to manipulate existing stereotypes and perceptions to construct and reinforce in-group solidarity. Before the outbreak
of the civil war in 1936, the backlash against the humour press typically included censorship, fines and closures. Added to these, incidents of army-led assaults on offices, the declaration of a national state of emergency, and an assassination all suggest that this was a humour being taken very seriously. However, with the
installation of Francisco Franco’s dictatorship, following the Nationalist victory in the civil war in 1939, all Catalan satire was driven underground or into exile. While the Spanish civil war has received significant academic treatment, one area requiring further examination is the role played by humour during the conflict.
Since jokes rely on shared attitudes in order to communicate their intended messages, we can use humour from a given period to identify existing beliefs within social groups during that particular moment in history. This chapter will introduce readers to the satirical press in Catalonia, charting its rise to prominence from the nineteenth century until the end of the Spanish civil war.
It will go on to discuss the cultural work performed by the Catalan tradition and its part in group identity construction and consolidation during the conflict using indicative examples taken from the two key remaining satirical publications of the time: L’Esquella de la Torratxa (The Cowbell of the Turret) (1872-1939) and Papitu (named after the music critic Josep Maria Pascual) (1908-1937).
Papers and Talks by Rhiannon McGlade
The installation of the Franco dictatorship sparked an inadvertent boom in comic production. Whil... more The installation of the Franco dictatorship sparked an inadvertent boom in comic production. While many cartoonists hailing from Barcelona’s rich satirical tradition went into exile or clandestine publication, still more turned to the children’s comics market that had become firmly routed in the Catalan capital since the 1920s.
Until the 1950s, comics remained relatively free from censorial intervention and the development of characters such as ‘La Familia Ulises’, ‘Carpanta’ and ‘Doña Urraca’ offered cartoonists an outlet for covert critique. However, in 1955, the Junta Asesora de la Prensa Infantil was established to police ‘inappropriate’ content of children’s publications, marking a turning point in Spain’s comic genre. Indeed, Pulgarcito was almost forced to pull the character of Carpanta because it challenged the widely-publicised claim that ‘en la España de Franco nadie pasa hambre’.
This paper analyses the implications and impact of the specific legislation directed at children’s publications applying a multifaceted approach, which combines humour theory and socio-political context with semiotic deconstruction. In so doing, it seeks to highlight the importance of comics as a resource for cultural analysis while offering a platform for the Spanish tradition, which has thus far been undervalued as a genre worthy of academic attention.
Cultural histories of Catalonia often refer to an ‘escuela humorística catalana’. However, there ... more Cultural histories of Catalonia often refer to an ‘escuela humorística catalana’. However, there is mention of major satirical publications such as L’Esquella de la Torratxa without situating these in the wider context of the Catalan tradition for satire. In contrast, this paper seeks to foreground the cultural work performed by Catalan satire in the twentieth century, by discussing evidence of its imbrications with a wider socio-historical context, considering in particular the representation of women in humour across key historical periods including: the Second Republic; the Spanish Civil War; the Franco dictatorship; the Transition to Democracy and the present day. It applies a multimodal framework that combines superiority, incongruity and release-relief humour theory, with Gestalt Visual Organisational Principles and socio-political context to produce a three-dimensional analysis of cartoon case studies taken from across the period. Using this approach it will discuss the changing position of women in Catalan society and whether changing attitudes were reflected, or even effected by the Catalan cartooning genre. It will champion the important role of political cartoons as a resource for Catalan cultural research and engage with current debates relating to satire’s ability to both shape and reflect its socio-political context.
Famed primarily for his short stories, Aveŀli Artís Gener or ‘Tísner’ (1912-2000), was also one o... more Famed primarily for his short stories, Aveŀli Artís Gener or ‘Tísner’ (1912-2000), was also one of Catalonia’s most prolific cartoonists. His career spanned generations of the rich Catalan tradition of political satire, including a twenty-five year period spent in exile. In 1939, at a time when political satire was forbidden and the use of the Catalan language was outlawed, Tísner fled to Mexico, in order to continue his career. In exile he collaborated in various satirical publications with many Catalan contemporaries. Unlike many of his peers, Tísner embraced the culture of his new home, whilst always remaining true to his Catalan roots in various works of literature. He remained proud of his Catalan heritage and, choosing to draw, rather than have to write in Castilian (a language which represented the oppression of Spain), he worked as a cartoonist for many of the Catalan publications produced in exile. In 1965, after being awarded the highly prestigious Mexican El Cuento prize, he returned to Catalonia in the midst of the Franco dictatorship. Once there, Tísner continued his work as a writer and caricaturist until his death in 2000 at the age of 88. This paper examines the role of Tísner’s work in exile and his ability to tackle the linguistic, cultural and spatial boundaries that faced him as a result of the Franco dictatorship. It considers this within the framework of Charles Knight’s (2004) theory, which draws particularly on the physical and psychological barriers constructed by exile.
Acknowledgments by Rhiannon McGlade
El Centre for Catalan Studies ha presentat a la capital britànica el llibre ‘Catalan Cartoons: A ... more El Centre for Catalan Studies ha presentat a la capital britànica el llibre ‘Catalan Cartoons: A Cultural and Political History’
ACN Londres.-L’humor català i l’època daurada de les tires còmiques a Catalunya són objecte d’estudi al llibre ‘Catalan Cartoons: A Culturan and Political History’ ('Caricatures catalanes: una històrica política i cultural) que s’ha presentat aquest dilluns a la Universitat Queen Mary de Londres. L’autora del llibre, la britànica Rhiannon McGlade, s’ha centrat en les vinyetes satíriques aparegudes entre 1898 i 1982 i en la seva evolució abans, durant i després del franquisme. . S’hi repassen publicacions històriques com el Cucut i ninotaires com Tísner o Escobar entre d’altres. La presentació forma part de les activitats de difusió de la llengua i la cultura catalanes que promou el Centre for Catalan Studies de Londres.
“L’humor català és molt especial i la tradició dels acudits és profundament catalana” assegura McGlade, que es confessa una enamorada de la revista satírica ‘El Jueves’ i que va dedicar el seu doctorat als estudis catalans. La tradició “única” del humor català es pot veure, per exemple en els jocs de paraules. “Les vinyetes satíriques de Madrid no jugaven tant amb el llenguatge com les catalanes” explica McGlade, que compara la tradició humorística catalana amb la francesa. “Hi te punts en comú, però segueix sent molt pròpia” assegura l’autora, que vol demostrar amb el seu llibre com “la història i la cultura d’un país” es poden explicar també “a través del seu sentit de l’humor”. "Entendre l'humor és una cosa molt seriosa" ja que "es pot entendre una època a través dels acudits que es van fer". El llibre es centra en les vinyetes i tires còmiques aparegudes entre el 1898 i el 1982 “per demostrar que l’humor satíric i polític no es va trencar durant la dictadura de Franco” i per posar de manifest “el poder i la importància de l’humor”. En aquest sentit, destaca la figura i la tasca de Tísner, pseudònim del ninotaire i periodista Avel·lí Artís i Gener. “La sàtira es va transformar durant el franquisme però no va desaparèixer; es va seguir fent des des de l’exili, sobretot des de Mèxic, però també aquí, a través de la premsa clandestina”, explica McGlade.El llibre també repassa la història dels còmics a Catalunya. “El TBO i personatges com Carpanta hi tenen un paper molt rellevant” explica i destaca especialment l’aportació d’Escobar “abans i després” de la Guerra Civil.L’acte de presentació de ‘Catalan Cartoons: A Cultural and Political History’ també ha comptat amb la presència del ninotaire britànic Tim Sanders, que ha treballat en nombrosos rotatius britànics com The Independent, The Guardian, The Observer o el satíric Priavte Eye, entre d’altres. El Centre for Catalan Studies El Centre for Catalan Studies de la Universitat Queen Mary de Londres es va fundar l’any 2006, amb el suport de l’Institut Ramon Llull, amb l’objectiu de promoure no només l’ensenyament de la llengua catalana sinó d’aprofundir en la cultura i institucionalitzar els diversos estudis de recerca en aquest camp que es cursaven al Regne Unit. La presentació aquest dilluns del llibre ‘Catalan Cartoons: A Culturan and Political History’ ha estat el primer acte organitzat per la nova direcció del Centre, liderada pel professor John London. “Catalunya te molta presència internacional, sobretot en el camp artístic” assegura London “fa ben bé 40 anys que la gent sap que Dalí, Miró o Tàpies no són espanyols, sinó catalans” explica London, traductor, enamorat del teatre i que va descobrir la llengua catalana després de veure l’obra ‘El Verí del Teatre’ de Rodolf Sirera en castellà i intentar-la traduir. Precisament, el teatre i la literatura seran un dels principals objectius a promoure des del Centre for Catalan Studies. “Volem promoure una major presència de la literatura, calen més traduccions i donar-les a conèixer” assegura London.
Doctoral Thesis by Rhiannon McGlade
This thesis considers the Catalan satirical cartooning tradition in the period 1898 to 1977. It b... more This thesis considers the Catalan satirical cartooning tradition in the period 1898 to 1977. It breaks from current approaches in Catalan cultural studies and Humour Theory in several significant ways. First, across four chronologically divided chapters – beginning with the post-colonial period through to Franco’s dictatorship – the study considers how Catalan satire was shaped by a shifting socio-political context and to what extent it, in turn, played a role in shaping that context. Here, it engages with humour’s role in identity construction through in-group solidarity. Second, supporting its inclusive position that a continued tradition can be observed throughout the twentieth century, the thesis looks beyond the common cut-off point of the Spanish Civil War by engaging with Catalan satirical cartoons in exile, in the clandestine press and in children’s comics during the Franco period. Third, it tests a multimodal framework that combines three major theories of humour: superiority, incongruity and release-relief, with Gestalt Visual Organisational Principles and socio-political context to produce a three-dimensional analysis of cartoon case studies. These cases have been selected from the most representative publications and cartoonists of the period and include the work of Tísner, Escobar and Cesc. The framework incorporates an expansion of superiority humour theory by raising the profile of the inferiority factor. More importantly, it marks a move towards addressing a verbal-centric imbalance in existing approaches to humour.
Introducing the previously undervalued Catalan tradition to humour discourse, while at the same time injecting a much-needed academic approach to Catalan cartoon humour, the thesis also highlights the important potential of cartoons as a resource in Catalan Studies and in cultural analysis in general.
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Books by Rhiannon McGlade
historical and socio-political research.
Available now:
http://www.uwp.co.uk/editions/9781783168040
OR
http://www.amazon.co.uk/Catalan-Cartoons-Cultural-Political-University/dp/1783168048
Journal Articles by Rhiannon McGlade
Keywords: Catalonia, Cu-Cut!, humor, political cartoons, satirical press
Book Chapters by Rhiannon McGlade
of the civil war in 1936, the backlash against the humour press typically included censorship, fines and closures. Added to these, incidents of army-led assaults on offices, the declaration of a national state of emergency, and an assassination all suggest that this was a humour being taken very seriously. However, with the
installation of Francisco Franco’s dictatorship, following the Nationalist victory in the civil war in 1939, all Catalan satire was driven underground or into exile. While the Spanish civil war has received significant academic treatment, one area requiring further examination is the role played by humour during the conflict.
Since jokes rely on shared attitudes in order to communicate their intended messages, we can use humour from a given period to identify existing beliefs within social groups during that particular moment in history. This chapter will introduce readers to the satirical press in Catalonia, charting its rise to prominence from the nineteenth century until the end of the Spanish civil war.
It will go on to discuss the cultural work performed by the Catalan tradition and its part in group identity construction and consolidation during the conflict using indicative examples taken from the two key remaining satirical publications of the time: L’Esquella de la Torratxa (The Cowbell of the Turret) (1872-1939) and Papitu (named after the music critic Josep Maria Pascual) (1908-1937).
Papers and Talks by Rhiannon McGlade
Until the 1950s, comics remained relatively free from censorial intervention and the development of characters such as ‘La Familia Ulises’, ‘Carpanta’ and ‘Doña Urraca’ offered cartoonists an outlet for covert critique. However, in 1955, the Junta Asesora de la Prensa Infantil was established to police ‘inappropriate’ content of children’s publications, marking a turning point in Spain’s comic genre. Indeed, Pulgarcito was almost forced to pull the character of Carpanta because it challenged the widely-publicised claim that ‘en la España de Franco nadie pasa hambre’.
This paper analyses the implications and impact of the specific legislation directed at children’s publications applying a multifaceted approach, which combines humour theory and socio-political context with semiotic deconstruction. In so doing, it seeks to highlight the importance of comics as a resource for cultural analysis while offering a platform for the Spanish tradition, which has thus far been undervalued as a genre worthy of academic attention.
Acknowledgments by Rhiannon McGlade
ACN Londres.-L’humor català i l’època daurada de les tires còmiques a Catalunya són objecte d’estudi al llibre ‘Catalan Cartoons: A Culturan and Political History’ ('Caricatures catalanes: una històrica política i cultural) que s’ha presentat aquest dilluns a la Universitat Queen Mary de Londres. L’autora del llibre, la britànica Rhiannon McGlade, s’ha centrat en les vinyetes satíriques aparegudes entre 1898 i 1982 i en la seva evolució abans, durant i després del franquisme. . S’hi repassen publicacions històriques com el Cucut i ninotaires com Tísner o Escobar entre d’altres. La presentació forma part de les activitats de difusió de la llengua i la cultura catalanes que promou el Centre for Catalan Studies de Londres.
“L’humor català és molt especial i la tradició dels acudits és profundament catalana” assegura McGlade, que es confessa una enamorada de la revista satírica ‘El Jueves’ i que va dedicar el seu doctorat als estudis catalans. La tradició “única” del humor català es pot veure, per exemple en els jocs de paraules. “Les vinyetes satíriques de Madrid no jugaven tant amb el llenguatge com les catalanes” explica McGlade, que compara la tradició humorística catalana amb la francesa. “Hi te punts en comú, però segueix sent molt pròpia” assegura l’autora, que vol demostrar amb el seu llibre com “la història i la cultura d’un país” es poden explicar també “a través del seu sentit de l’humor”. "Entendre l'humor és una cosa molt seriosa" ja que "es pot entendre una època a través dels acudits que es van fer". El llibre es centra en les vinyetes i tires còmiques aparegudes entre el 1898 i el 1982 “per demostrar que l’humor satíric i polític no es va trencar durant la dictadura de Franco” i per posar de manifest “el poder i la importància de l’humor”. En aquest sentit, destaca la figura i la tasca de Tísner, pseudònim del ninotaire i periodista Avel·lí Artís i Gener. “La sàtira es va transformar durant el franquisme però no va desaparèixer; es va seguir fent des des de l’exili, sobretot des de Mèxic, però també aquí, a través de la premsa clandestina”, explica McGlade.El llibre també repassa la història dels còmics a Catalunya. “El TBO i personatges com Carpanta hi tenen un paper molt rellevant” explica i destaca especialment l’aportació d’Escobar “abans i després” de la Guerra Civil.L’acte de presentació de ‘Catalan Cartoons: A Cultural and Political History’ també ha comptat amb la presència del ninotaire britànic Tim Sanders, que ha treballat en nombrosos rotatius britànics com The Independent, The Guardian, The Observer o el satíric Priavte Eye, entre d’altres. El Centre for Catalan Studies El Centre for Catalan Studies de la Universitat Queen Mary de Londres es va fundar l’any 2006, amb el suport de l’Institut Ramon Llull, amb l’objectiu de promoure no només l’ensenyament de la llengua catalana sinó d’aprofundir en la cultura i institucionalitzar els diversos estudis de recerca en aquest camp que es cursaven al Regne Unit. La presentació aquest dilluns del llibre ‘Catalan Cartoons: A Culturan and Political History’ ha estat el primer acte organitzat per la nova direcció del Centre, liderada pel professor John London. “Catalunya te molta presència internacional, sobretot en el camp artístic” assegura London “fa ben bé 40 anys que la gent sap que Dalí, Miró o Tàpies no són espanyols, sinó catalans” explica London, traductor, enamorat del teatre i que va descobrir la llengua catalana després de veure l’obra ‘El Verí del Teatre’ de Rodolf Sirera en castellà i intentar-la traduir. Precisament, el teatre i la literatura seran un dels principals objectius a promoure des del Centre for Catalan Studies. “Volem promoure una major presència de la literatura, calen més traduccions i donar-les a conèixer” assegura London.
Doctoral Thesis by Rhiannon McGlade
Introducing the previously undervalued Catalan tradition to humour discourse, while at the same time injecting a much-needed academic approach to Catalan cartoon humour, the thesis also highlights the important potential of cartoons as a resource in Catalan Studies and in cultural analysis in general.
historical and socio-political research.
Available now:
http://www.uwp.co.uk/editions/9781783168040
OR
http://www.amazon.co.uk/Catalan-Cartoons-Cultural-Political-University/dp/1783168048
Keywords: Catalonia, Cu-Cut!, humor, political cartoons, satirical press
of the civil war in 1936, the backlash against the humour press typically included censorship, fines and closures. Added to these, incidents of army-led assaults on offices, the declaration of a national state of emergency, and an assassination all suggest that this was a humour being taken very seriously. However, with the
installation of Francisco Franco’s dictatorship, following the Nationalist victory in the civil war in 1939, all Catalan satire was driven underground or into exile. While the Spanish civil war has received significant academic treatment, one area requiring further examination is the role played by humour during the conflict.
Since jokes rely on shared attitudes in order to communicate their intended messages, we can use humour from a given period to identify existing beliefs within social groups during that particular moment in history. This chapter will introduce readers to the satirical press in Catalonia, charting its rise to prominence from the nineteenth century until the end of the Spanish civil war.
It will go on to discuss the cultural work performed by the Catalan tradition and its part in group identity construction and consolidation during the conflict using indicative examples taken from the two key remaining satirical publications of the time: L’Esquella de la Torratxa (The Cowbell of the Turret) (1872-1939) and Papitu (named after the music critic Josep Maria Pascual) (1908-1937).
Until the 1950s, comics remained relatively free from censorial intervention and the development of characters such as ‘La Familia Ulises’, ‘Carpanta’ and ‘Doña Urraca’ offered cartoonists an outlet for covert critique. However, in 1955, the Junta Asesora de la Prensa Infantil was established to police ‘inappropriate’ content of children’s publications, marking a turning point in Spain’s comic genre. Indeed, Pulgarcito was almost forced to pull the character of Carpanta because it challenged the widely-publicised claim that ‘en la España de Franco nadie pasa hambre’.
This paper analyses the implications and impact of the specific legislation directed at children’s publications applying a multifaceted approach, which combines humour theory and socio-political context with semiotic deconstruction. In so doing, it seeks to highlight the importance of comics as a resource for cultural analysis while offering a platform for the Spanish tradition, which has thus far been undervalued as a genre worthy of academic attention.
ACN Londres.-L’humor català i l’època daurada de les tires còmiques a Catalunya són objecte d’estudi al llibre ‘Catalan Cartoons: A Culturan and Political History’ ('Caricatures catalanes: una històrica política i cultural) que s’ha presentat aquest dilluns a la Universitat Queen Mary de Londres. L’autora del llibre, la britànica Rhiannon McGlade, s’ha centrat en les vinyetes satíriques aparegudes entre 1898 i 1982 i en la seva evolució abans, durant i després del franquisme. . S’hi repassen publicacions històriques com el Cucut i ninotaires com Tísner o Escobar entre d’altres. La presentació forma part de les activitats de difusió de la llengua i la cultura catalanes que promou el Centre for Catalan Studies de Londres.
“L’humor català és molt especial i la tradició dels acudits és profundament catalana” assegura McGlade, que es confessa una enamorada de la revista satírica ‘El Jueves’ i que va dedicar el seu doctorat als estudis catalans. La tradició “única” del humor català es pot veure, per exemple en els jocs de paraules. “Les vinyetes satíriques de Madrid no jugaven tant amb el llenguatge com les catalanes” explica McGlade, que compara la tradició humorística catalana amb la francesa. “Hi te punts en comú, però segueix sent molt pròpia” assegura l’autora, que vol demostrar amb el seu llibre com “la història i la cultura d’un país” es poden explicar també “a través del seu sentit de l’humor”. "Entendre l'humor és una cosa molt seriosa" ja que "es pot entendre una època a través dels acudits que es van fer". El llibre es centra en les vinyetes i tires còmiques aparegudes entre el 1898 i el 1982 “per demostrar que l’humor satíric i polític no es va trencar durant la dictadura de Franco” i per posar de manifest “el poder i la importància de l’humor”. En aquest sentit, destaca la figura i la tasca de Tísner, pseudònim del ninotaire i periodista Avel·lí Artís i Gener. “La sàtira es va transformar durant el franquisme però no va desaparèixer; es va seguir fent des des de l’exili, sobretot des de Mèxic, però també aquí, a través de la premsa clandestina”, explica McGlade.El llibre també repassa la història dels còmics a Catalunya. “El TBO i personatges com Carpanta hi tenen un paper molt rellevant” explica i destaca especialment l’aportació d’Escobar “abans i després” de la Guerra Civil.L’acte de presentació de ‘Catalan Cartoons: A Cultural and Political History’ també ha comptat amb la presència del ninotaire britànic Tim Sanders, que ha treballat en nombrosos rotatius britànics com The Independent, The Guardian, The Observer o el satíric Priavte Eye, entre d’altres. El Centre for Catalan Studies El Centre for Catalan Studies de la Universitat Queen Mary de Londres es va fundar l’any 2006, amb el suport de l’Institut Ramon Llull, amb l’objectiu de promoure no només l’ensenyament de la llengua catalana sinó d’aprofundir en la cultura i institucionalitzar els diversos estudis de recerca en aquest camp que es cursaven al Regne Unit. La presentació aquest dilluns del llibre ‘Catalan Cartoons: A Culturan and Political History’ ha estat el primer acte organitzat per la nova direcció del Centre, liderada pel professor John London. “Catalunya te molta presència internacional, sobretot en el camp artístic” assegura London “fa ben bé 40 anys que la gent sap que Dalí, Miró o Tàpies no són espanyols, sinó catalans” explica London, traductor, enamorat del teatre i que va descobrir la llengua catalana després de veure l’obra ‘El Verí del Teatre’ de Rodolf Sirera en castellà i intentar-la traduir. Precisament, el teatre i la literatura seran un dels principals objectius a promoure des del Centre for Catalan Studies. “Volem promoure una major presència de la literatura, calen més traduccions i donar-les a conèixer” assegura London.
Introducing the previously undervalued Catalan tradition to humour discourse, while at the same time injecting a much-needed academic approach to Catalan cartoon humour, the thesis also highlights the important potential of cartoons as a resource in Catalan Studies and in cultural analysis in general.
I argue that celebrity politics has either negligible or in fact negative effects on contemporary Western democracies. A celebrity politician, whether a politician who has cultivated a celebrity persona; a celebrity who has taken on political causes for which to lobby or one who has used his or her celebrity status to become an elected member of government, can be seen to damage the credibility of the political process as we know it. Though arguments are expounded that celebrity politicians serve to bring issues to the attention of a disaffected youth, thereby invigorating a stagnant political system, the way in which these issues are presented often makes them dangerously void of substance and therefore lacking the elements of consequence and gravity that they ought to be afforded. If issues are presented as simple, then it creates a frustration within the public when these are not dealt with effectively, quickly and to a high standard. In this way celebrities tend not to be well enough equipped with the appropriate expertise to pronounce on political issues, in the same way that politicians are not usually equipped to front a rock band. This dissertation intends to demonstrate the dangers involved in the blurring of lines which distinguish the world of celebrity from that of politics and vice-versa. Initially, it will chart the rise of the relationship between celebrities and politics and will then begin an analysis, drawing first from the theories of deliberative democracy and accountability as discussed by John Dryzek (2000) and Robert Behn (2001) respectively, followed by an examination of the more practical and normative issues that the subject raises including the influential role of the media under the premise of the “style over substance” debate.