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Jane Chapman (International) assertion Jane Chapman i(A153520 works by)
Gender: Female
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Works By

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1 y separately published work icon Conga Dance Amanda Tarlau , Jane Chapman (illustrator), Gosford : Scholastic Australia , 2015 8460706 2015 single work picture book children's

'Join the line, the conga line! One by one, Australian animals join the conga line, dancing together until they fall in a tangle at the end!' (Publication summary)
1 1 y separately published work icon Big and Small Elizabeth Bennett , Jane Chapman (illustrator), Gosford : Koala Books , 2014 7217046 2014 single work picture book children's

'Big and Small head out to play. They climb a hill and cross a stream, but with each new adventure, Small finds himself in trouble. “A little help, please!” Small says to Big each time. When they return home, it’s Big who needs Small’s help for something very important!' (Publisher's blurb)
1 Multi-Panel Comic Narratives in Australian First World War Trench Publications as Citizen Journalism Jane Chapman , Ellin Daniel , 2012 single work criticism
— Appears in: Australian Journal of Communication , November vol. 39 no. 3 2012; (p. 1-22) 'Although textual expressions by soldiers in their own trench and troopship newspapers are relatively well known, the way that the men created and used cartoon multi-panel format is not. Humorous visual self-expression has provided a record of satirical social observation from a 'bottom up' perspective. The contribution made by illustrative narratives of the armed forces needs to be acknowledged as early citizen journalism. Comic art by servicemen - mainly from the lower ranks - has contributed to the evolution of democratic self-expression in popular culture, and manifests aspects of collective First World War experience that can be construed as a form of journalistic observation. Soldiers' universal concerns about daily life, complaints and feelings about officers, medical services, discomforts, food and drink, leave, military routines, and their expectations versus emerging reality are emphasised. In this paper, we argue that perceptions of Australian identity can also be discerned in the detailed interaction between drawings, dialogue, and/or text that is unique to this early comic-strip form.' (Author's abstract)
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