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Relevant bibliographies by topics / American Caricatures and cartoons

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Academic literature on the topic 'American Caricatures and cartoons'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "American Caricatures and cartoons"

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SOPER, KERRY. "From Swarthy Ape to Sympathetic Everyman and Subversive Trickster: The Development of Irish Caricature in American Comic Strips between 1890 and 1920." Journal of American Studies 39, no. 2 (August 2005): 257–96. http://dx.doi.org/10.1017/s0021875805009710.

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Observed from a distance, the prevalence of ethnic stereotyping in late nineteenth-century and early twentieth-century cartooning in the United States is disturbing. All one can see, initially, is that turn-of-the-century readers seemed to enjoy seeing blacks, Native Americans, and non-Anglo immigrants reduced to simplistic caricatures and made to say and do outrageously stupid things. The Distorted Image, the Balch Institute's exposé on the evils of ethnic caricature, agrees with this assessment, suggesting that “the strips from the early years of this century [the twentieth] are inevitably suffused with crude, even gross stereotypes” in which blacks and ethnic immigrants are “maligned and mistreated with blithe insouciance.” However, a closer inspection of particular characters, mediums, and creators, reveals that there was greater complexity to these “crude” images – a rich history, in fact, of shifting meanings and uses. There were, of course, some blatantly racist depictions of ethnic minorities in cartoons and comic strips during this period, but there was also a complex spectrum of ethnic characters who played out shifting comedic and social roles. By properly contextualizing some of these cartoons – considering how meanings and uses changed according to where the cartoons appeared, who created them, and who read them – many images that initially seem just like more entries in a long line of gross stereotypes begin to reveal layered, ambivalent, and even sympathetic codings.

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Varat, Deborah. "“Their New Jerusalem”: Representations of Jewish Immigrants in the American Popular Press, 1880–1903." Journal of the Gilded Age and Progressive Era 20, no. 2 (April 2021): 277–300. http://dx.doi.org/10.1017/s1537781420000766.

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AbstractMillions of immigrants arrived in the United States during the Gilded Age, drastically altering the ethnic character of the American citizenry. This dramatic social change was met with mixed reactions from the native-born population that were vividly communicated in the popular press. Cartoonists for newspapers and magazines across the country developed a language of caricature to identify and distinguish among ethnic groups and mocked new arrivals in imagery that ranged from mild to malicious. One might assume that the masses of Eastern European Jews flooding into the country (poor, Yiddish-speaking, shtetl-bred) would have been singled out for anti-Semitic attack, just as they were in Europe at the time. However, Jews were not the primary victims of visual insults in America, nor were the Jewish caricatures wholly negative. Further, the broader scope of popular imagery, which, in addition to cartoons, includes a plethora of illustrations as well as photographs, presents a generally positive attitude toward Jewish immigrants. This attitude aligned with political rhetoric, literature, newspaper editorials, and financial opportunity. This article will propose a better alignment of the visual evidence with the scholarly understanding of the essentially providential experience of Jews in America during this period.

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Tchen, John Kuo Wei. "Jack G. Shaheen 1935–2017." Review of Middle East Studies 52, no. 1 (April 2018): 172–74. http://dx.doi.org/10.1017/rms.2018.21.

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Pioneering author and media critic, Dr. Jack Shaheen devoted his life to identifying and contesting damaging stereotypes of Arabs and Muslims in American media and pop culture. Arabs and Muslims were offered up as cartoon caricatures—dagger wielding, evil, ridiculous, hypersexualized, inhumane and incompetent “others.” Dr. Shaheen quickly recognized their shared genealogy to the portrayals of other racialized groups including Jews, Native Americans, Asian Americans, Latinos, and African Americans. Always in the spirit of engaged dialogue, he was outspoken in defense of any group that was wrongfully stereotyped and vilified.

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Benedict, Michael Les. "Constitutional Politics in the Gilded Age." Journal of the Gilded Age and Progressive Era 9, no. 1 (January 2010): 7–35. http://dx.doi.org/10.1017/s1537781400003777.

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During the Gilded Age, constitutional issues pervaded the discussion of nearly all matters of public policy, including regulation of railroads, suppressing unsafe and fraudulent products, labor issues, and combating trusts and monopolies. The Democratic and Republican parties differed in their conceptions of federal power and state rights as well as on matters related to social order and personal liberty. They articulated these differences in political platforms and manifested them in their approach to public policy. The obsession with constitutional issues was not confined to the halls of Congress or the chambers of the Supreme Court. Constitutional discourse ran up from ordinary people and interest groups to public policy makers and down from policy makers seeking support based on fidelity to constitutional principles. Ordinary people influenced constitutional policymaking not only through voting but through various means of making their views known. Advocates used all types of media to make constitutional issues clear to the American people. These ranged from formal treatises aimed at the intellectual elite to cartoons, caricatures, songs, and screeds. Politicians articulated constitutional positions in political platforms, congressional addresses, pamphlets, political and commemorative addresses, and stump speeches. Justices of the Supreme Court eschewed technical and abstract language in constitutional opinions, addressing them to a more general public than they did in other areas of law. In the end, constitutional policy was not determined through legal determinations of the Supreme Court but by the political decisions of the American people.

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Hansen, B. "The image and advocacy of public health in American caricature and cartoons from 1860 to 1900." American Journal of Public Health 87, no. 11 (November 1997): 1798–807. http://dx.doi.org/10.2105/ajph.87.11.1798.

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Kidder, Orion Ussner. "Fire in the jungle: Genocide and colonization in Russell and Pugh’s The Flintstones." Studies in Comics 11, no. 2 (November 1, 2020): 305–20. http://dx.doi.org/10.1386/stic_00032_1.

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Mark Russell and Steve Pugh’s The Flintstones comic book (2016‐17) addresses US colonialism much more directly than most popular media but focalizes its story through a white, settler American. Thus, it represents an unwillingness and/or inability to think outside of that narrow perspective, i.e. while it is anti-colonial, it is not postcolonial. The book was published through a licensing agreement between Hanna-Barbara and DC Comics in which several Hanna-Barbera cartoons were combined with contrasting genres to create grim and/or mature stories. DC’s The Flintstones, in particular, takes on a collection of social issues, including religion as cynical manipulation, military-industrial propaganda, exploitation of foreign/immigrant labour and media depictions of the environmental crisis. However, it consistently undermines its own messages, often through visual jokes that end up confirming the ideas the book satirizes but also through sincere pronouncements that prevent the satirical critique from reaching a concrete conclusion. The overarching narrative of the series is about the lingering trauma of colonization. It equates the colonization of the land presently held by United States with that country’s war in Vietnam. This equation results from depicting the literal colonization of an Indigenous space and land but using imagery that reflects US media depictions of their war in Vietnam: colonialist soldiers in green fatigues use fire (i.e. napalm) to exterminate racist caricatures of Southeast Asian guerrilla fighters in order to clear a forest and expose the literal bedrock from which the Flinstone’s city will be built. Fred Flintstone, who represents a settler American, states quite directly that he ‘participated in a genocide’ as a soldier in that invasion, thus confirming an anti-colonialist critique. However, the book never takes on the perspective of the colonized peoples, who by then have been wiped out, which is why it stops short of a postcolonialist critique.

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Vukičević, Marko. "Depiction of the Enemy in Croatia During World War I." Eikon / Imago 9 (July 3, 2020): 341–61. http://dx.doi.org/10.5209/eiko.73327.

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The aim of this paper is to analyse and compare the visual representation and iconography in works depicting the enemy in Croatian visual arts during World War I. The article encompasses research on unpublished archival sources and contemporaneaous press. The works of renowned Croatian artists, who were enlisted or volunteered for frontline duty are analysed, as are the works of art presented to the Croatian general public through graphics, cartoons and caricatures in the then popular press. Comparison of war-themed images shows differences in the visualisation of the enemy. The generally accepted belief that the enemy was visually satanised and ridiculed actually only applies to caricatures and cartoons.

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Herkman, Juha. "Populism in political cartoons: caricatures of Nordic populist leaders." Popular Communication 17, no. 3 (May 17, 2019): 252–67. http://dx.doi.org/10.1080/15405702.2019.1614183.

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Bal, Anjali Suniti, Leyland Pitt, Pierre Berthon, and Philip DesAutels. "Caricatures, cartoons, spoofs and satires: political brands as butts." Journal of Public Affairs 9, no. 4 (November 2009): 229–37. http://dx.doi.org/10.1002/pa.334.

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Marchant-Wallis, Caroline. "The Paris Commune cartoon collection: An introduction." Art Libraries Journal 45, no. 3 (July 2020): 90–93. http://dx.doi.org/10.1017/alj.2020.13.

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This article discusses the illustrative material found within the Paris Commune Collection held in the Special Collections of The University of Sussex, and focuses on how values and opinions were communicated through the use of sartorial cartoons and caricatures. Approaches from a range of disciplines including art, librarianship, archives and education have been employed, highlighting the value of cartoons as both pieces of art and valuable communication devices, alongside the importance of the collection for teaching, and wider importance of using archive material within teaching.

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Dissertations / Theses on the topic "American Caricatures and cartoons"

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Bogansky, Amy Elizabeth. "The Devil's servants satire in colonial America and the visual language of conflict (Pennsylvania) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.51 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435863.

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Webb, Joel C. "Drawing Defeat: Caricaturing War, Race, and Gender in Fin de Siglo Spain." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/283/.

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Dines-Levy, Gail. "Towards a sociology of cartoons a framework for sociological investigation with special reference to Playboy sex cartoons /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1990. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.280757.

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Man, Kam-hung Ricky. "Cartoon Production Centre an urban channel to fantasy world /." Click to view the E-thesis via HKUTO, 1996. http://sunzi.lib.hku.hk/hkuto/record/B31982992.

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Álvarez, Chávez Roland. "La masculinidad figurada la representación del significado social de la virilidad en las ilustraciones de humor de la prensa limeña /." Lima : Fondo Editorial de la Facultad de Ciencias Sociales, UNMSM, 2005. http://www.cybertesis.edu.pe/sdx/sisbib/envoi?dest=file:/d:/cybertesis/tesis/production/sisbib/2004/alvarez_chr/xml/../pdf/alvarez_chr.pdf&type=application/pdf.

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Master's thesis in sociology (2004), Universidad Nacional Mayor de San Marcos (Peru); directed by Mg. Guillermo Nugent Herrera.
Title from ebook home page (viewed on nov. 20, 2009). Includes bibliographical references (p. 166-173). Also available in print.

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Koon, Chui-min. "The politics of popular culture : a study of a Hong Kong comic strip, McMug /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25085542.

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Pissarra, Mario. "Criticism and censorship in the South African "alternative" Press with particular reference to the cartoons of Bauer and Zapiro (1985-1990)." Bachelor's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/14749.

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Includes bibliography.
Cartooning is an extremely heterogeneous practice whose genealogy can be traced back to caricature. This paper does not concern itself with the diversity that can be found in the cartoons of Derek Bauer and Jonathan Shapiro (Zapiro), but rather chooses to focus on the potential of cartooning as a critical art practice. Given that the "flipside" of criticism is censorship, the effects of censorship on cartooning together with cartooning's response to censorship will also be examined. Cartoons published in the alternative press after the 1985 declaration of a State of Emergency, but preceding the unbanning of political organisations in February 1990, which comment directly on press or political censorship, as well as those which raise issues pertinent to censorship, provide the basis for examining the converse notions of criticism and censorship. Having said this it should also be stated at the outset that whilst this paper focuses on particular cartoons produced in specific historical circumstances, it is also intended that this paper will have broader implications for the development of a contemporary critical art practice. This paper proceeds from the premise that criticism and censorship are oppositional and antagonistic concepts which seldom appear alone. Criticism, particularly when expressed publicly and directed at specific interest groups (eg. a ruling elite) frequently evokes censorship, whilst censorship and repression in turn breed criticism and resistance.

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Herek, Ann Marie. "The effects of perceived sexism on funniness ratings of cartoons." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/451607.

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Humor-evoking events frequently contain aggressive elements. Sex differences have been found for the effects of aggressive content on perceived funniness, (Wilson & Molleston, 1981; Terry & Ertle, 1974; Groch, 1974; Felker & Hunter, 1970) but the findings are not consistent. Sexism is sometimes perceived as a more subtle form of aggression. Sex differences have also been found for the way sexism affects funniness ratings, (Chapman & Gadfield, 1976; Priest & Wilhelm, 1974) but again the findings are inconsistent. The primary purpose of the present study was to determine the relationship between the ratings of sexism and the ratings of funniness for cartoons. A secondary purpose of the present study was to determine to what extent, if any, gender of experimenter influences humor, sex, sexism, and pain ratings.Subjects were 60 female and 58 male introductory Psychology students. There were four experimental groups: two groups of female and two groups of male subjects. A female experimenter was assigned to one male and one female group, and a male experimenter was assigned to one male and one female group. This design facilitated exploration of an experimenter gender x subject gender interaction. Subjects were shown 34 cartoons and asked to rate each for funniness, and then to rate them for the degree of sexual, sexist, and aggressive (pain) content each contained.A preliminary analysis revealed that there were significant relationships between gender of experimenter and funniness ratings, gender of subject and funniness ratings, as well as a gender of experimenter x gender of subject interaction.A step-down multiple regression was performed among the predictor variables experimenter gender and subject gender, with the criterion of funniness, for each of the four experimental conditions. For female subjects, only sexism scores correlated with funniness scores, and the contributions of sex and pain ratings were not significant. For male subjects, only sex scores correlated with funniness scores, and the contributions of sexism and pain ratings were not significant. Comparisons between these results and past research were made.

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Lee, Hak Keung. "Man hua hui yue : "Shanghai man hua" shi qi Ye Qianyu de zuo pin ji qi shou zhong, 1928-1930 /." View abstract or full-text, 2008. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202008%20LEE.

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Chiu, Sau Wan Anne Terry. "An analysis of the humor in political comic strips in Hong Kong newspapers." HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/643.

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Books on the topic "American Caricatures and cartoons"

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Giglio, James N. Truman in cartoon and caricature. Kirksville, Mo: Truman State University Press, 2001.

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1947-, Northrop Sandy, ed. American political cartoons: From 1754-2010. New Brunswick, N.J: Transaction Publishers, 2010.

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Fishing!: Cartoons. New York, NY: N. Lyons Books, 1986.

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McCoy, Alfred W. Philippine cartoons: Political caricature of the American era, 1900-1941. Quezon City, Philippines: Vera-Reyes, 1985.

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Fisher, Edwin. Maestro, please!: Cartoons. New York, NY: Applause Books, 1992.

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Voodoo economics: Cartoons. San Francisco: Chronicle Books, 1992.

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Piro, Stephanie H. Caffeinated cartoons: Cartoons about coffee and tea. Bala Cynwyd, PA: Laugh Lines Press, 1996.

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Moore, Steve. Where golfers buy their pants and other collected cartoons: Sports cartoons. New York: Macmillan, 1994.

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Twin 'toons: Cartoons. Bala Cynwyd, PA: Laugh Lines Press, 1996.

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Simons, Wendell. Forgotten history: Cartoons. Dalles, Or: Columbia Gorge Publishery, 1995.

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Book chapters on the topic "American Caricatures and cartoons"

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Bal, Anjali, Leyland Pitt, and Pierre Berthon. "Caricatures, Cartoons, Spoofs and Satires: Political Brands as Butts." In Proceedings of the 2009 Academy of Marketing Science (AMS) Annual Conference, 63. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10864-3_39.

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Aragão, Octavio. "Brazilian Science Fiction and the Visual Arts: From Political Cartoons to Contemporary Comics." In Latin American Science Fiction, 185–202. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137312778_10.

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Kent, Alicia A. "African Americans: Moving from Caricatures to Creators, Charles Chesnutt and Zora Neale Hurston." In African, Native, and Jewish American Literature and the Reshaping of Modernism, 27–69. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230605107_2.

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Portnoy, Edward. "Exploiting Tradition: Religious Iconography in Cartoons of the Polish Yiddish Press." In Polin: Studies in Polish Jewry Volume 16, 243–68. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0013.

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This chapter explores religious iconography in cartoons of the Polish Yiddish press. Alongside the mainstream press, a Jewish satirical press began to flourish in the Yiddish language in both eastern Europe and America. In addition to jokes, humorous stories, poems, and many parodies, Yiddish satirical journals would come to include numerous cartoons and caricatures. Never having been seen previously in Jewish life, such visual parody was an unprecedented innovation among Yiddish-speaking Jews in Poland, partly because of its sheer novelty and partly because art without a religious connection was discouraged among Jews. Moreover, the vast majority of Jewish texts, particularly those used on a daily basis, did not contain illustrations of any kind. The cartoonists of the Yiddish press were therefore engaged not only in a radical subversion of Jewish tradition but also in a reassessment of what Jewish caricature should be, as opposed to the antisemitic caricature of the non-Jewish satirical press. In addition, Jewish cartoonists frequently applied traditional Jewish themes to critical commentary on current cultural and political events.

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Endong, Floribert Patrick C., and Eugenie Grace Essoh. "Representing Trump and Trumpism Through Caricature." In Advances in Media, Entertainment, and the Arts, 188–219. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9312-6.ch008.

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This chapter focuses on the Nigerian media representations of Donald Trump's controversial policies, statements and style of government. It specifically examines Nigerian caricaturists' criticism of these aspects of American politics through a semiotic analysis of six editorial cartoons penned by Boglo G. and published in the Nigerian online magazine Nasoweseeam, from 2016 to 2018. In the light of the semiotic analysis conducted in the study, the chapter argues that Nigerian political cartoonists have continuously given a remarkable attention to U.S. politics (notably Trump's presidency), particularly exploring the angle of U.S. policies' impact on Nigeria(ns). Their cartoons have been tapping into both universal myths and local idiosyncrasies to represent the Trump administration in particular, and the American nation as a whole. Such a representation has mostly been negative. Icons, indexes and symbols have thus, most often been mobilized in their cartoons to associate Trump, Trumpism and/or America as a whole with such negativities as racism, Islamophobia, Nazism, xenophobia and authoritarianism, among others.

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Langer, Lorenz. "Caricatures / Cartoons." In Culture and Human Rights: The Wroclaw Commentaries, edited by Andreas J. Wiesand, Kalliopi Chainoglou, and Anna Sledzinska-Simon. Berlin, Boston: De Gruyter, 2016. http://dx.doi.org/10.1515/9783110432251-028.

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"Coca-Cola, Cartoons and Caricature." In America’s Backyard. Bloomsbury Academic, 2009. http://dx.doi.org/10.5040/9781350218420.ch-011.

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"The Birth of a National Identity: 1754 1865." In American Political Cartoons, 24–51. Routledge, 2017. http://dx.doi.org/10.4324/9781315082554-1.

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"The Rise of the American Cartoon: 1865 1896." In American Political Cartoons, 52–67. Routledge, 2017. http://dx.doi.org/10.4324/9781315082554-2.

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"The Cartoon Comes of Age: 1896 1918." In American Political Cartoons, 68–87. Routledge, 2017. http://dx.doi.org/10.4324/9781315082554-3.

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Conference papers on the topic "American Caricatures and cartoons"

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Rykova, Olga V. "Multimodal Metaphor In American Political Cartoons." In WUT 2018 - IX International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.04.02.97.

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