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1
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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Hewitson, Mark. "The Violent Art: Caricatures of Conflict in Germany." Cultural History 6, no. 1 (April 2017): 57–79. http://dx.doi.org/10.3366/cult.2017.0135.
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War furnishes a – perhaps the – classic case of ‘black humour’, which is understood here in the broad sense, not merely as the humour of the gallows or the cheating of death, but humour deriving from a confrontation with suffering or death, either as a victim or a perpetrator. War cartoons relied on the manipulation of images for comic effect, which – at least until the absurdist experiments of the Dada and Surrealist movements during and after the First World War – appeared impossible in photography, painting and cinematography. Caricature permitted artists simultaneously to conjure up, simplify and undermine reality. The selection and exaggeration of character traits and circumstantial detail, which was fundamental to caricature, revealed graphically how cartoonists perceived the social and political world in which they lived. This chapter examines how such selection and exaggeration worked in extreme conditions during wartime.
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Allison, Deborah. "You Oughta Be in Pictures : Cartoons and caricatures in opening title sequences." Film International 18, no. 1 (March 1, 2020): 82–88. http://dx.doi.org/10.1386/fint_00010_1.
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Virág, Ágnes. "Multimodal conceptual patterns of Hungary in political cartoons." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 222–53. http://dx.doi.org/10.1075/cogls.00055.vir.
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Abstract Conventionalized positive images of Hungary have been overemphasized in political caricatures ever since the nineteenth century (Tamás 2012, 2014). The present article explores the multimodal representations of hungary in cartoons in the period between 1989 and 1990, during which negative images of Hungary became prominent due to the weak financial situation of the country and the political system change. The corpus involves seventy-five cartoons from the satirical magazine Ludas Matyi. Two major claims are justified by adopting Paula Pérez-Sobrino’s (2017) multimodal identification procedure: (1) the interpretation of verbal elements (e.g., labels, verbal texts, and verbal symbols) in political cartoons influences the identification of multimodal conceptual patterns; (2) the dominant patterns that structure the representation of hungary in political cartoons are metonymy-based visual and multimodal metaphors, and both of them occur in metaphorical scenarios. The corpus analysis indicates that the two main target frames, financial crisis and political changes, appear through the sources of human body and object in metaphorical scenarios, such as ordinary scenes, motion, hospital, sport, tale, love, feast, stunt, begging, and church scenes. Apart from identifying the representations of Hungary, visual metonymies as well as textual cues need to be revealed in order to understand what metaphtonymy scenarios are intended in the cartoons.
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McMahon. "Cartoons in the Classroom: Using Digitized Political Caricatures to Teach Migration and Ethnicity." Journal of American Ethnic History 33, no. 4 (2014): 87. http://dx.doi.org/10.5406/jamerethnhist.33.4.0087.
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Canizares, Orlando. "Reminiscences and Caricatures of American Dermatopathologists." American Journal of Dermatopathology 9, no. 4 (August 1987): 351–56. http://dx.doi.org/10.1097/00000372-198708000-00011.
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Dutton, George. "Lýý Toéét in the City: Coming to Terms with the Modern in 1930s Vietnam." Journal of Vietnamese Studies 2, no. 1 (February 1, 2007): 80–108. http://dx.doi.org/10.1525/vs.2007.2.1.80.
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The emergence of popular journalism in 1930s Vietnam allowed for new forms of commentary on a transformed urban life, among them caricatures featuring LB Toéét, a villager bewildered by his encounters with the modern city. This article uses the LB To�t cartoons that appeared in the weekly journal Phong Hóóa [Mores] as a window on urban attitudes toward the modern. It suggests that the illustrations reveal a considerable ambivalence toward modernity on the part of Phong Hóóa's editors, despite their rhetorical commitment to the new and the modern.
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Lisenby, Foy. "American Women In Magazine Cartoons." American Journalism 2, no. 2 (July 1985): 130–34. http://dx.doi.org/10.1080/08821127.1985.10731042.
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Göktürk, Deniz. "Jokes and Butts: Can We Imagine Humor in a Global Public Sphere?" PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1707–11. http://dx.doi.org/10.1632/pmla.2008.123.5.1707.
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In his essay titled “Drawing Blood” for Harper's magazine in June 2006, written as a response to the Muhammad cartoon affair, Art Spiegelman argued convincingly that a cartoon is, first and foremost, a cartoon. It sounds straightforward, but is it really? Following Spiegelman, we can define caricatures as charged or loaded images that compress ideas into memorable icons, namely clichés. A cartoon must have a point, and a good cartoon can change our perspective on the ruling order. Spiegelman opens his discussion with classical caricatures such as Honoré Daumier's 1831 depiction of King Louis-Philippe as Gargantua and George Grosz's 1926 attack on the “Pillars of Society” (“Stützen der Gesellschaft”) as beer-drinking, pamphlet-reading, swastika-wearing men without brains. Spiegelman acknowledges these cartoonists as “masters of insult,” who often had to face trial or imprisonment for their transgressions (45). The question is whether the twelve cartoons of Muhammad, published by the Danish newspaper Jyllands-Posten on 30 September 2005, are in any way compatible with the great tradition of caricature.
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Hryshchenko, Kateryna. "Caricatures in russian publicism of the second half of the 19th century: by the materials of N. B. Gersevanov." Universum Historiae et Archeologiae 2, no. 2 (October 12, 2020): 197. http://dx.doi.org/10.15421/26190214.
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The aim of the study was the desire to determine the place of the visual artistic and satirical component in the creative heritage of N. B. Gersevanov and the consideration of the caricature as a genre of journalism and a historical source in public opinion research of the 1850–1860s. Historiography. The history of the caricature was mainly of interest to art critics and artists. The sociocultural and political context of their appearance was considered, but in passing. The question of the place of caricature in the work of N. B. Gersevanov is raised for the first time. Sources. The set of sources was formed according to the principle of informational correspondence to the goal and consists of newspaper articles – reviews by N. B. Gersevanov on military cartoons and an album of cartoons “The Adventures of the Novgorod resident Fedora Ivanovna”, published under the pseudonym “Durov”. The materials involved cover 1858–1860. both the critic and the creator of this genre convincingly demonstrate the place of caricature in journalism of N. B. Gersevanov. Using the methods of historiographic and source analysis and synthesis allowed us to identify the state of development of the issue in the historical literature and realize the goal. The main result was the identification of thematic variability of the cartoons of N. B. Gersevanov and the reactions of representatives of the military community to them. Based on the content analysis, the contents of the caricature album “Adventures of the Novgorod resident Fedora Ivanovna” were investigated. The texts and the cartoons published by Gersevanov were a reaction to harsh criticism by the public of the Russian army and military after the defeat of the Russian Empire in the Crimean War of 1853–1856. Since 1812, wars have become a powerful impetus for development for the Russian caricature tradition. The humorous genre was not inherent in the work of Gersevanov, moreover, he considered it dangerous for military discipline. Thus, the appeal to the caricature of the socio-political and literary issues was a kind of experiment for the author. Despite economic success, the final goal was not achieved, the vices were not overcome. Gersevanov became convinced of the futility of ridiculing as a method of education, therefore, he did not turn to the humorous genre anymore. The conclusion is that the hermeneutic analysis of the texts and the contexts of their appearance allowed us to significantly expand our understanding of the multifaceted activities of such a little-explored personality as N. B. Gersevanov and to reveal the informational potential of the cartoon as a historical source. The type of article: analytical.
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Panayotidis, E. Lisa, and Paul Stortz. "Visual Interpretations, Cartoons, and Caricatures of Student and Youth Cultures in University Yearbooks, 1898–19301." Journal of the Canadian Historical Association 19, no. 1 (May 28, 2009): 195–227. http://dx.doi.org/10.7202/037432ar.
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Abstract Students have always been integral in the development of the university in Canada. Driven by personal, professional, and political agendas, student experiences, understandings, and narratives helped construct the academic and intellectual cultures of universities. In their relationships with professors, administrators, and the spaces they inhabit, students crucially contributed to the university as a historically vibrant idea and social institution. As cast by the students, the university was clearly expressed in variant and creative ways through the annual yearbook. In particular, within the yearbook, the practice of parody in cartoons and caricatures was powerful in depicting the imagined worlds of academe as seen through the students’ eyes, and importantly how the students saw themselves and their life on campus. Using yearbooks from three universities — Toronto, Alberta, and British Columbia – visual images are studied that reveal underlying intentions to comment, marginalize, ridicule, and esteem groups of students according to both ascribed and self-imposed socialized hierarchical structures and codes of expectations and behaviour. Among the universities, the visual satire was consistent in tone and image, exposing the historic place and activities of students in the early university and in society, the contingent formation of student identities, and the nature of the pursuit of academic knowledge and credentials by youth in early-twentieth Century Canada.
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Lydin, N. N., and P. V. Ulyanov. "The Evolution of the Image of the Ottoman Empire on the Cartoons of the British Magazine «Punch» of the First World War Period." Izvestiya of Altai State University, no. 3(113) (July 6, 2020): 69–75. http://dx.doi.org/10.14258/izvasu(2020)3-11.
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This article discusses the development in the British society of the image of the Ottoman Empire, perceived as a ’’German ally“ during the First World War. English cartoons from the satirical magazine “Punch” were taken as historical sources. The peculiarity of this magazine was that during the period under study it was popular among representatives of the elite, intelligentsia, workers and some of the farmers due to the publication of various drawings and cartoons in it. The main goal of the authors of the article is to consider the development of the image of the Ottoman Empire, presented on graphic materials as an “ally of Germany”, using political caricatures as an example, and to reveal its features in British propaganda. The study allows us to conclude that the image of the Ottoman Empire was presented in satirical form, as it was aimed at discrediting the ”ally of Germany“. British artists sought to convey to the mass audience that the Ottoman Porta was embroiled in armed conflict and was used by Germany as a "puppet". On the example of the most striking English cartoons of the satirical magazine “Punch”, it can be noted that many stories about the “ally of Germany” reflected in their content the military-political dependence of the Ottoman Empire on the German one.
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Williams, Dominic. "Punch and the Pogroms: Eastern Atrocities in John Tenniel’s Political Cartoons, 1876–1896." RACAR : Revue d'art canadienne 42, no. 1 (August 15, 2017): 32–47. http://dx.doi.org/10.7202/1040838ar.
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Cet article analyse trois caricatures produites pour Punch, magazine humoristique de l’époque victorienne, par son caricaturiste en chef, John Tenniel. Elles représentent des despotismes en périphérie de l’Europe opprimant et assassinant des minorités sous leur férule : les atrocités commises en Bulgarie en 1876, les pogroms antisémites en Russie en 1881–1882 et les massacres d’Arméniens dans l’Empire ottoman en 1895–1896. Considérées ici comme faisant partie d’une série, ces images sont placées en dialogue notamment avec les textes qui ont paru à leurs côtés et avec les magazines rivaux de Punch tels que Fun et Judy. Alors que les Turcs, les Russes, les Bulgares, les Juifs et les Arméniens sont devenus des figures au moyen desquelles Punch a pu réfléchir à lui-même et à sa nation, elles lui ont posé un problème de représentation : c’est particulièrement les figures juives que Punch a eu le plus de difficulté à situer dans l’ordre des nations.
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Bailey, Sandra S. "Training with Images: Real and Representational." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 38, no. 18 (October 1994): 1168–72. http://dx.doi.org/10.1177/154193129403801805.
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A total of 60 subjects (24 males and 36 females) participated in a study to determine if a caricature's accentuation of critical cues results in improved recognition of handshapes used in the American Sign Language manual alphabet. Each subject was randomly assigned to one of two training groups. One group trained with photographs of the handshapes and the other group used caricatures. Once mastery of the alphabet was demonstrated, their ability to recognize the handshapes shown in four different modes (positive and negative photographs, and positive and negative caricatures) was tested. In the unrestricted condition, the duration of exposure was not artificially constrained. In the restricted testing condition, the handshapes were displayed at 320 msec, 500msec and 700 msec. Both speed and accuracy were equally emphasized in the training and in the testing. The findings did not support the superfidelity hypothesis of caricatures. In the unrestricted condition, those trained with photographs responded significantly faster, regardless of mode, than those trained with caricatures. As predicted in the most restrictive display time (320msec), mean response time was significantly faster with caricatures. This study has direct implications regarding the media used to train American Sign Language. The findings support the use of photographs to depict and to train novices in the ASL handshapes. Further research is needed to determine if these findings hold true as the complexity of the handshape increases.
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Culbertson, Tom. "The Golden Age of American Political Cartoons." Journal of the Gilded Age and Progressive Era 7, no. 3 (July 2008): 277–95. http://dx.doi.org/10.1017/s1537781400000724.
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[Note: What follows is a selection from a recent exhibition on Gilded Age political cartooning at the Rutherford B. Hayes Presidential Center in Fremont, Ohio, a sponsoring institution of Shgape and this journal from their inception. As the essay explains, the Hayes Center's first-rate research library includes many sources for scholarship on this craft, which thrived during the late 1800s. In this illustrated essay, Hayes Center director Tom Culbertson, an avid scholar of political cartooning, provides background information on major personalities of Gilded Age political cartooning, their publications, politics, mindset, and techniques. Appearing in weekly magazines, frequently filling a full page and printed in color, drawn in copious detail and finely engraved, Gilded Age cartoons represented a lavish, at times gaudy form of political expression to which this six-by-nine inch, black-and-white journal cannot do justice. Teachers and scholars routinely use such cartoons to illustrate other points without much thought to the circumstances of their drawing and printing. Superficially familiar, these cartoons take on new life when seen in their original form and setting.]
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Caswell, Lucy Shelton. "Drawing Swords: War in American Editorial Cartoons." American Journalism 21, no. 2 (April 2004): 13–45. http://dx.doi.org/10.1080/08821127.2004.10677580.
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Walter, G. "The psychiatrist in American cartoons, 1941?1990." Acta Psychiatrica Scandinavica 85, no. 2 (February 1992): 167–72. http://dx.doi.org/10.1111/j.1600-0447.1992.tb01463.x.
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Baltodano Román, Gabriel. "Fisiognomía y fealdad cómica en la caricatura política de Enrique Hine (Physiognomy and Comic Ugliness in the Political Cartoons of Enrique Hine)." LETRAS 1, no. 59 (February 6, 2017): 155. http://dx.doi.org/10.15359/rl.1-59.7.
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Este artículo trata la caricatura política; en particular, el significado ideológico construido mediante dos procedimientos empleados en la sátira política de combate contra el liberal Ricardo Jiménez Oreamuno, a saber: la comparación fisiognómica (con figuras míticas y animales) y la fealdad cómica (Bergson) como rigidez mental, moral e intelectual. Se centra en las caricaturas del artista gráfico Enrique Hine Saborío, editor del periódico humorístico El Cometa.This article addresses political cartoons, and focuses on the ideological meaning constructed using two procedures found in political protest satire against the Costa Rican liberal Ricardo Jiménez-Oreamuno. They include the physiognomical comparison (with mythical figures and animals) and comic ugliness (Bergson) as mental, moral and intellectual rigidity. This study examines on the caricatures of the graphic artist Enrique Hine-Saborío , editor of the comic Costa Rican newspaper El Cometa.
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Webb, Joel C. "Drawing a Glorious Past, Picturing an Uncertain Future." European History Quarterly 47, no. 2 (April 2017): 257–83. http://dx.doi.org/10.1177/0265691417690996.
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This article uses turn-of-the-century editorial cartoons and other imagery mass produced by the Spanish press to examine a period in Spanish history when the momentum of a developing national identity collided with the challenges of war and decolonization. Through a detailed exploration of the iconography embedded in caricatures published in the pages of a politically diverse selection of turn-of-the-century Spanish publications, this article seeks to demonstrate that the fear of an uncertain future combined with the disaster of a collapsing empire were projected onto images of the enemy which reflect a submerged anxiety over the threat of an ascendant and vulgar modernity. This anxiety manifested itself in dueling metaphors that presented the essence of Spanishness as a bulwark against industrialization, modernization, and liberalization.
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Abdul Latif, Roslina, and Sojoud Elgarrai. "The Power of Political Cartoons: A Case Study of Zunar’s ‘Twit Twit Cincin’." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (March 31, 2021): 146–80. http://dx.doi.org/10.17576/jkmjc-2021-3701-09.
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The following study of selected works of art by Zulkiflee Anwar Haque or better known as Zunar, a Malaysian political cartoonist from his book ‘Twit Twit Cincin’. This study is guided by the visual rhetoric theory that has three areas of study - nature, function and evaluation. The study looks at selected cartoons that addressed political figures, politics and social issues. The research looked at the way the caricatures portrayed Malaysian politicians, his perspectives on the political and social issues and how these issues were addressed. The researcher also looked at metaphors used by the cartoonist to communicate his ideas to the audiences. The study found that Zunar’s portrait of Malaysian politicians is not always positive. He is critical but not in an inflammatory way. The metaphors found in Zunar’s work are found to be common themes and simple to understand. They are also very well-known, visually appealing and a tool to tie his messages together and to get his ideas across. Zunar has managed to resist the oppression of the state through his cartoons while looking at institutional reform, puts forth an alternative articulation of history and nation that juxtapose the current government. Keywords: Zunar, political cartoonist, political and social issues, Twit Twit Cincin, metaphors.
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Zhang, Cun. "The Sino–US trade war in political cartoons: A synthesis of semiotic, cognitive, and cultural perspectives." Intercultural Pragmatics 18, no. 4 (August 30, 2021): 469–97. http://dx.doi.org/10.1515/ip-2021-4003.
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Abstract Economic globalization has resulted in more frequent trading frictions, some of which have escalated into trade wars such as the one between China and the US. Drawing on the same corpus built by Zhang and Forceville (Zhang, Cun & Charles Forceville. 2020. Metaphor and metonymy in Chinese and American political cartoons (2018–2019) about the Sino–US trade conflict. Pragmatics and Cognition 27(2). 476–501), and complementing insights of that paper, this paper investigates how the Sino–US trade war is metaphorically and metonymically constructed in 129 Chinese and American political cartoons respectively from a synthesized perspective. Based on comparative analyses, cross-cultural similarity and uniqueness in the semiotic, cognitive, and cultural aspects can be concluded as follows: (a) at the expression level, the shared dominant mode configuration pattern of metaphor and metonymy requires extra-textual knowledge to identify the target domain/concept while the source domain/vehicle concept is pinpointed through pictorial resources; (b) at the cognition level, “us” and “them” are distinctively evaluated by using the metonymy BODILY REACTION FOR EMOTION, cultural symbols, and the Great Chain metaphor. The Chinese cartoons converge on disapproving of “them” while the American cartoons converge on disapproving of “us” and diverge on conceptualizing “them”; (c) a variety of cross-cultural default scenarios are employed in the Chinese cartoons whereas the American cartoons utilize non-default scenarios influenced by only American cultures. Both aim for persuasiveness by employing emotionally charged source domains/vehicle concepts, but to different audiences.
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Cannon, Sylvie. "Editorial cartoons and the American involvement in Vietnam." Revue Française d'Etudes Américaines 43, no. 1 (1990): 59–83. http://dx.doi.org/10.3406/rfea.1990.1387.
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Webb, Barbara L. "The Black Dandyism of George Walker: A Case Study in Genealogical Method." TDR/The Drama Review 45, no. 4 (December 2001): 7–24. http://dx.doi.org/10.1162/105420401772990306.
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Frisch, Robin. "“Fraudonomics”: Cartooning against Structural Adjustment in Togo." International Review of Social History 66, S29 (March 10, 2021): 139–60. http://dx.doi.org/10.1017/s0020859021000171.
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AbstractThis article offers a sensitive reading of oppositional political cartoons in Togo in the early 1990s, during the period of structural adjustment, which was accompanied by the swift reversal of democratizing trends and the restoration of authoritarian rule. Togolese satirists perceived this moment as a moment of “fraudonomics”, thus contesting rampant corruption and clientelism in politics. They poked fun at the president, local politicians, businesspeople, and bureaucrats of the international institutions. The article begins by examining the making of satirical newspapers with a focus on the biographies of the satirists. As students, they started out on the adventure of publication with their own money and learned most of their drawing and printing techniques as work progressed. Secondly, an analysis of the readership shows that, although the satirical newspapers were a crucial element of the media in the early 1990s, it was mostly an elitist and urban phenomenon. The third section analyses the changing visual repertoire of contention through in-depth analysis of four selected caricatures.
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Carrizales, Tony. "The Positive Image of Public Servants in Editorial Cartoons (1999 - 2003)." Public Voices 11, no. 1 (December 8, 2016): 51. http://dx.doi.org/10.22140/pv.101.
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The editorial cartoon has been a part of American culture since the beginning of the nation’s founding. The following review of editorial cartoons takes a specific look at public servants who are not in the political spotlight, such as teachers, police, fire and postal service men and women. Through a review of editorial cartoons from 1999-2003, it becomes apparent that there are positive images of public servants amid the numerous negative ones published daily. The selection of cartoons, most notably those following the attacks of September 11, 2001, highlights that heroism and service can be transcended through cartoons as with any other form of art.
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Cornelio-Marí, Elia-Margarita. "Mexican children and American cartoons: Foreign references in animation." Comunicar 23, no. 45 (July 1, 2015): 125–32. http://dx.doi.org/10.3916/c45-2015-13.
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This audience study explores how a group of children from Southeast Mexico, perceive the animated cartoon «Dexter’s Laboratory». The objective is to observe the ways in which a young local audience, still in the process of building its cultural identity, perceives an American television program. A qualitative approach was applied: 44 children between 8 and 11 years old participated in a series of semi-structured interviews and focus groups, which took place in a provincial city in Mexico (Villahermosa, Tabasco). In each session, the participants watched an episode of the cartoon dubbed into Latin Spanish. Afterwards, it was assessed if they were able to notice cultural elements present in the series (texts in English, traditions, ways of life, symbols, etc.), which are different from their own culture. It was also observed if age, gender and social background had any impact on the degree of awareness. The results showed that most of the participants were aware of beingthat they were watching a foreign program, that they could recognize elements of American culture and that they applied diverse strategies to make sense of these foreign narratives. Older children, and those studying English as a second language, were able to make more sophisticated comparisons between the cultures of Mexico and the United States.Este estudio sobre audiencias explora cómo un grupo de niños del sureste de México perciben los dibujos animados de «El laboratorio de Dexter». El objetivo primordial es conocer la manera en que un programa norteamericano distribuido internacionalmente es entendido por una audiencia local, especialmente por una conformada por individuos que aún están construyendo su identidad cultural. Se utilizó un enfoque cualitativo: un total de 44 niños en edades entre los 8 y 11 años participaron en una serie de entrevistas semi-estructuradas y grupos de discusión, que se llevaron a cabo en una ciudad de la provincia mexicana (Villahermosa, Tabasco). En cada sesión se observó un episodio de la serie animada doblada al español latino. Posteriormente, se evaluó si los participantes sabían que los dibujos animados eran norteamericanos y si notaban la presencia de elementos culturales diferentes respecto a su propia cultura (textos escritos en inglés, referencias a tradiciones, estilo de vida, símbolos, etc.). Asimismo, se indagó si la edad, el género y estrato social de proveniencia influían en esta percepción. Los resultados muestran que la mayoría de los participantes eran conscientes de estar viendo un programa extranjero, reconocían elementos de la cultura norteamericana y aplicaban diversas estrategias para crear sentido a estas narrativas. Niños mayores, y aquellos que estudian el idioma inglés, fueron capaces de realizar comparaciones más sofisticadas entre las culturas de México y Estados Unidos.
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Cohen, Kenneth. "‘Sport for Grown Children’: American Political Cartoons, 1790–1850." International Journal of the History of Sport 28, no. 8-9 (May 2011): 1301–18. http://dx.doi.org/10.1080/09523367.2011.567779.
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Fedosov, E. A., and E. S. Genina. "Globalization of the Internal Enemy Image in the Soviet Visual Propaganda during the Early Cold War (1946–1953)." Bulletin of Kemerovo State University 22, no. 4 (January 5, 2021): 952–62. http://dx.doi.org/10.21603/2078-8975-2020-22-4-952-962.
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The present research featured a generalized historical experience in the formation and development of a particular segment of Soviet propaganda during the early Cold War (1946–1953). The authors focused on the visual propaganda as a component of ideological impact. The study involved 240 propaganda posters and over 2,000 magazine and newspaper caricatures published in 1946–1953. The reconstruction of events was part of content analysis of the ideological and propaganda campaigns that the USSR waged as its confrontation with the West began to escalate. The concept of Soviet patriotism was the key idea in the state ideology. The analysis made it possible to specify some features of the symbolic language of visual propaganda. It also revealed the relationship between international and domestic political scenarios through certain varieties of the enemy image. The authors assessed the effectiveness of propaganda in terms of social and political attitude expressed by Soviet citizens. The authors revealed a complex of various means, which included official publications, posters, and cartoons and was used to influence the mass consciousness and form certain ideological attitudes.
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Fedosov, E. A., and E. S. Genina. "Globalization of the Internal Enemy Image in the Soviet Visual Propaganda during the Early Cold War (1946–1953)." Bulletin of Kemerovo State University 22, no. 4 (January 5, 2021): 952–62. http://dx.doi.org/10.21603/2078-8975-2020-22-4-952-962.
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The present research featured a generalized historical experience in the formation and development of a particular segment of Soviet propaganda during the early Cold War (1946–1953). The authors focused on the visual propaganda as a component of ideological impact. The study involved 240 propaganda posters and over 2,000 magazine and newspaper caricatures published in 1946–1953. The reconstruction of events was part of content analysis of the ideological and propaganda campaigns that the USSR waged as its confrontation with the West began to escalate. The concept of Soviet patriotism was the key idea in the state ideology. The analysis made it possible to specify some features of the symbolic language of visual propaganda. It also revealed the relationship between international and domestic political scenarios through certain varieties of the enemy image. The authors assessed the effectiveness of propaganda in terms of social and political attitude expressed by Soviet citizens. The authors revealed a complex of various means, which included official publications, posters, and cartoons and was used to influence the mass consciousness and form certain ideological attitudes.
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Welch Behringer, Paul J. "Images of Empire: Depictions of America in Late Imperial Russian Editorial Cartoons." Russian History 45, no. 4 (November 27, 2018): 279–318. http://dx.doi.org/10.1163/18763316-04504001.
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Although historians have paid much attention to American perceptions of Russia, few have looked at Russian views of the United States, particularly in the imperial period. This paper surveys editorial cartoons in Novoe Vremia, one of the few Russian newspapers to publish illustrations as commentary on international affairs. Novoe Vremia published cartoons depicting the United States in the years between 1898 and 1912 in the late imperial period, that is, beginning with the War of 1898 and ending with the abrogation of the u.s.-Russia commercial treaty. This paper finds evidence for the argument that Russian views of American empire and race relations persisted into the Soviet period. However, the Russian Revolution swept away the strong anti-Semitic overtones in many portrayals of the United States, at least in editorial cartoons.
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Pozdnyakova, E. M., and O. A. Blinova. "Covid-19 Pandemic in Political Cartoons of the American Press: An Experience of Multimodal Analysis." Nauchnyi dialog, no. 1 (January 27, 2021): 48–62. http://dx.doi.org/10.24224/2227-1295-2021-1-48-62.
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An attempt is made to analyze the place of political cartoons in the current socio-political media discourse in the United States. The material was the cartoons published in the spring of 2020 from USA Today and Philadelphia Inquirer, the informational occasion for the creation of which was the Covid-19 pandemic. The definitions of political cartoons as a multimodal text with a complex coding system is considered in the article. It is noted that in this type of text, phenomenological cognitive structures are actualized both through linguistic projection and through visual-spatial images. Attention is paid to intertextuality as the basis of political cartoon: the authors proceed from the position that the decoding of meaning by the recipient depends on whether he and the author have common background knowledge. It is shown that the Covid-19 pandemic is thematically embedded in the broader socio-political agenda, whereby a successful interpretation requires the recipient to have background knowledge of the current socio-political challenges facing the United States, namely the domestic political agenda. It is stated that the studied cartoons are distinguished by their reliance on precedent, and the actualization of background knowledge occurs through a combination of the visual and verbal components of the text. It is concluded that among the linguistic means of creating a satirical effect, a play on words is distinguished based on the literal and figurative meaning of individual lexical units.
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Grimes, Sara M. "Saturday Morning Cartoons Go MMOG." Media International Australia 126, no. 1 (February 2008): 120–31. http://dx.doi.org/10.1177/1329878x0812600113.
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This paper traces the migration of North American children's television into the realm of massively multiplayer online games (MMOGs), and the issues this raises in terms of the commercialisation of children's (digital) play. Through a content analysis of three television-themed MMOGs targeted to children, Nickelodeon's Nicktropolis, Cartoon Network's Big Fat Awesome House Party and Corus Entertainment's GalaXseeds, I examine how this new development within children's online culture operates in relation to existing industry practices of cross-media integration and promotion. Dominant trends identified in the content analysis are compared with emerging conventions within the MMOG genre, which is generally found to contain numerous opportunities for player creativity and collaboration. Within the cases examined, however, many of these opportunities have been omitted and ultimately replaced by promotional features. I conclude that all three case studies operate primarily as large-scale advergames, promoting transmedia intertextuality and third-party advertiser interests.
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Coward, John M. "Making Sense of Savagery: Native American Cartoons inThe Daily Graphic." Visual Communication Quarterly 19, no. 4 (December 18, 2012): 200–215. http://dx.doi.org/10.1080/15551393.2012.735572.
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Sillin, Sarah. "Laughing at “Young Bull”: American Authority in Civil War Cartoons." J19: The Journal of Nineteenth-Century Americanists 8, no. 2 (2020): 267–93. http://dx.doi.org/10.1353/jnc.2020.0015.
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Colcleugh, Malcolm Bruce. "War-Time Portraits of the Gringo: American Invaders and the Manufacture of Mexican Nationalism." Montréal 1995 6, no. 1 (February 9, 2006): 81–101. http://dx.doi.org/10.7202/031089ar.
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Abstract The 1846 American invasion of Mexico sparked an intensely nationalist response among members of Mexico's Liberal and Conservative intelligentsia. This paper documents and analyzes that nationalist reaction. To rally the nation to the cause, Mexican intellectuals constructed and presented to the Mexican masses frightful, negative caricatures and stereotypes of the invading Americans. An abject race of vile and perfidious usurpers, Anglo-Saxon invaders were, the intelligentsia warned, intent upon the spoliation of Mexico and the enslavement of her people. If not stopped by a vigorous prosecution of the war, they warned, the greedy and cruel heretics from the north would soon descend over the whole nation, raping Mexico's daughters along the way and desecrating her holy shrines. Disseminated through newspapers, political pamphlets and broadsides, it was against such caricatures that the allegedly positive features of the Mexican identity were defined and delineated. Against the dark and fiendish stereotypes of the Americans stood, in stark and powerful contrast, the moral and benevolent Mexicans. Where the American caricature evoked the dreadful image of a marauding, degenerate infidel, the Mexican portraiture called forth the equally evocative image of an upright, generous defender. While the Americans fought because of their greed, the Mexicans, it was maintained, resisted for the honour of their families, their Church and their motherland.
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Kidenda, Dr Mary Claire Akinyi. "THE NECESSITY FOR PARENTS TO WATCH ANIMATED CARTOONS WITH CHILDREN AGED SEVEN TO ELEVEN YEARS." Journal of Education and Practice 2, no. 1 (November 16, 2018): 42. http://dx.doi.org/10.47941/jep.261.
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Purpose: The purpose of this study was to establish the necessity for parents to watch televised animated cartoons with children aged seven to eleven years.Methodology: The study used a descriptive survey method to collect information through casual interviews and self-administered questionnaires.Results: The study found out that the amount of time children spend watching animated cartoons on television can make them retract from social interactions with visitors, parents or other siblings when the television is on. Animated cartoons have an impact on children in respect to acquired or "borrowed" language and dressing styles and attitudes towards role types. These relations may be imperceptible to the casual observer but data show that the best (Kim Possible, Ben 10 and American Dragon) cartoon characters are idols, image ideals and role models to children in Nairobi, yet both the two cartoon characters are not representative of children they interact with every day. This study found that it is prudent animated cartoons affect the perceptions and attitudes that are being reinforced in children and the implication of this on how they construct their worldview and self-worth.Unique contribution to theory, practice and policy: Parents should be concerned and watch animated cartoons with children because animated cartoons have become an institution through which society is using to bring up children and use to teach values. Media practitioners should air animated cartoons that have no violence or bad morals but are still popular with children. The government should set policies governing the content in animated cartoons aired by the media houses
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Chybowski, Julia J. "Blackface Minstrelsy and the Reception of Elizabeth Taylor Greenfield." Journal of the Society for American Music 15, no. 3 (August 2021): 305–20. http://dx.doi.org/10.1017/s1752196321000195.
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AbstractThis article explores blackface minstrelsy in the context of Elizabeth Taylor Greenfield's singing career of the 1850s–1870s. Although Greenfield performed a version of African American musicality that was distinct from minstrel caricatures, minstrelsy nonetheless impacted her reception. The ubiquity of minstrel tropes greatly influenced audience perceptions of Greenfield's creative and powerful transgressions of expected race and gender roles, as well as the alignment of race with mid-nineteenth-century notions of social class. Minstrel caricatures and stereotypes appeared in both praise and ridicule of Greenfield's performances from her debut onward, and after successful US and transatlantic tours established her notoriety, minstrel companies actually began staging parody versions of Greenfield, using her sobriquet, “Black Swan.” These “Black Swan” acts are evidence that Greenfield's achievements were perceived as threats to established social hierarchies.
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Winfield, Betty H., and Doyle Yoon. "Historical Images at a Glance: North Korea in American Editorial Cartoons." Newspaper Research Journal 23, no. 4 (September 2002): 97–100. http://dx.doi.org/10.1177/073953290202300411.
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Siya, Qin, and Ma Jun. "A Study of American News Cartoons from the Multimodal Perspective --Taking US-China Trade War News Cartoons as an Example." Linguistics 3, no. 1 (2021): 27–38. http://dx.doi.org/10.35534/lin.0301003.
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Kidenda, Mary Claire Akinyi. "NATURE OF TELEVISED ANIMATED CARTOONS WATCHED BY CHILDREN AGED SEVEN TO ELEVEN YEARS IN NAIROBI COUNTY, KENYA." American Journal of Education and Practice 3, no. 1 (December 6, 2018): 1–9. http://dx.doi.org/10.47672/ajep.370.
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Purpose: The purpose of this study was to establish the nature of televised animated cartoons watched by children aged seven and eleven years in Nairobi County, Kenya. It is about cartoon-consumer relationship in an effort to discover the impacts of animated cartoons on children in Nairobi. It also raises awareness on the implications of raising children in Nairobi on an animated cartoon content that is designed mainly from Euro-American and not local values, attitudes and sensibilities. It is hoped that the findings and conclusions herein will help generate cartoons that can educate Kenyan children to live in ways that are socially and culturally desirable. Methodology: The study used descriptive survey method to collect information through casual interviews and self-administered questionnaires.Findings: This study suggests that animated cartoons have discernible impacts on children in Nairobi in that they influence the children to construct their worldview and create perceptions that are alien to Kenya. Unique contribution to theory, practice and policy: Between the ages of seven to eleven years children are excellent imitators but poor evaluators, therefore, the non-African ideals and values portrayed in the animated cartoons are increasingly defining the perception and attitudes towards gender roles, sexuality, body images and role modelling of children who consume animated cartoons in Nairobi. This is because these children are in that stage where images and impressions from diverse environments play a big part in how they construct their world.
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Egerer, Juliane. "TEASING PEOPLE INTO HEALTH? SAMI CARTOONS, INDIGENOUS HUMOUR, AND PROVOCATIVE THERAPY." Tijdschrift voor Skandinavistiek 37, no. 1 (June 24, 2020): 19–37. http://dx.doi.org/10.21827/tvs.37.1.36930.
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Maren Uthaug's razor-sharp and self-deprecating cartoons reflect Sami people in a seemingly offensive way, addressing sensitive Indigenous issues such as cultural disorientation, racism, suicide, and addiction in an outspoken way. However, it was Sami people – Uthaug's relatives – who asked for and successfully published these cartoons. Why do Sami people request cartoons like these? Outlining some relevant aspects of highly divergent Western Comics Studies, the analysis and interpretation of selected cartoons is an opportunity to compare Uthaug's provocative strategies to the functions of humour in First Nations literature. Accordingly, the paper focuses on Indigenous humour as a means of emotional and social healing in the processes of decolonization and reconciliation and, additionally, adopts Frank Farrelly's concept of provocative therapy which is defined as a way of teasing people into health. Relying on Native American Terry Tafoya's (Taos Pueblo) description of Farrelly as a kind of medicine man, the paper asks whether also Uthaug acts as a cartoon-drawing Chiffoneti, a blend of priest, healer, and trickster regarding Indigenous and non-Indigenous readers.