Abstract

This article interprets theory, practice and evaluation of the comic strip during the Chilean Popular Unity from contextual and social, intermediate and cultural aspects. The theory is exposed from the popular essay How to Read Donald Duck (1972) by Ariel Dorfman and Armand Mattelart and its critique of the capitalist comic strip as an ideological product. As a contrast, the changes made in Quimantú's comics and the evaluation of them will be studied. In these comics, different articulations are produced between visual narrative, politics and readers' reception, while political and cultural theories of communication are put to the test.