Political Cartoons

1
Political Cartoons

• by Alleen Pace Nilsen
• and Don L. F. Nilsen

2
Caricatures

• Caricatures are probably the oldest form of
  pictorial humor, where caricare in Latin means
  to overload, or exaggerate.
• The main stylistic devices here are distortion
  and exaggeration, and the main subject, famous
  people.
• (Hempelmann and Samson 2008 613)

3
The Word Cartoon

• The term Cartoon originally comes from the
  Italian word cartone and means a strong, heavy
  paper or pasteboard. It denotes a full-size
  drawing made on paper as a study for further
  drawings, such as a painting or tapestry.
• Punch applied the term to satirical drawings by
  publishing some parody drafts for frescoes (also
  called cartoons) and making the terms new
  meaning permanent.
• (Hempelmann Samson 2008 613-614)

4
Jokes and Cartoons

• Cartoons are jokes told in a picture (drawing,
  painting, etc.) comprising one or only a few
  panels.
• Cartoons by Gary Larson, for example, show his
  typical rounded shapes, round people with small
  heads and white glasses.
• These can be contrasted with the more realistic
  and detailed drawing style of Robert Crumb.
• (Hempelmann Samson 2008 614)

5
Jokes vs. Cartoons

• Jokes are told in a linear way.
• In the picture part of a cartoon, on the other
  hand, usually no clear order of processing is
  forced in the way text does, but there are
  tendencies to follow a general order which can
  crucially be directed by the artist creating
  entry points and paths in their pictures.
• Another enormous formal difference is iconicity,
  as can be seen in visual puns.
• (Hempelmann Samson 2008 617)

6
Cartoon Charactersand the Expression of Emotion

• Characters in cartoons have faces, so their
  emotions can be depicted unobtrusively by giving
  them expressions, while characters in jokes would
  have to be explicitly described as having certain
  emotions or words used that reflect emotional
  states.
• (Hempelmann Samson 2008 617)

7
Conversational Cartooning vs.Conversational
Joking

• Conversational cartooning is theoretically
  possible, but we should assume its rare
  occurrence.
• Conversational joking, on the other hand, is
  common.
• (Hempelmann Samson 2008 618)

8
Comics vs. Cartoons

• Comicsin contrast to cartoonsare orientated
  towards stories, their artwork is more detailed,
  more often anatomically correct, and the drawing
  more often closely resembles reality.
• (Hempelmann Samson 614)

9
Verbal vs. Visual HumorJokes vs. Cartoons

• In an article entitled, Cartoons Drawn Jokes?
  Christian Hempelmann and Andrea Samson point out
  that jokes usually have no authors, are
  folkloristic products, while cartoons usually do
  have an author with a distinct drawing style and
  topical preferences who also signs his or her
  work.
• This entails that we should not expect to find
  spontaneous cartooning in analogy to
  conversational joking.
• (Hempelmann Samson 2008 610-611)

10

• There are two main differences between verbal,
  linguistic jokes and pictorial, visual cartoons
  The aesthetic (formal) difference and the
  different loci (and probably modi) of cognitive
  processing, both surfacing as formal
  differences.
• (Hempelmann Samson 2008 611-612)

11
Six Categories of Cartoon Research

• 1. Studies of reactions to cartoonshow good they
  are, the extent to which they produce laughter or
  smiling, how funny they are. These studies
  investigate the effect of incongruity and
  complexity on the perception of humor. (Shultz,
  Suls, Hirt and Genshaft)
• 2. Studies that focus on the content of cartoons,
  such as gender stereotypes (Herzog, Love,
  Deckers, Thompson, Zerbinos), social stereotypes
  (Bogardus, Anderson Jolly), political and
  social aspects (Abe), or sexual themes in
  cartoons (Brodzinsky Rubien, Felker Hunter,
  Derks, Herzog Hager, Giarelli Tulman).
• (Hempelmann Samson 2008 611-612)

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• 3. Studies that use cartoons to address memory
  issues (Schmidt Williams), neuronal activation
  processes (Schmidt Williams), or neuronal
  activation patterns (Gallagher, Marjoram), or
  Theory of Mind and schizophrenia (Corcoran,
  Cahill, Frith, Marjoram)
• 4. Research about cartoonists such as their
  childhoods (Fisher Fisher), their personalities
  and their Psychoticism and Neuroticism scores
  (Pearson), and gender differences (Samson
  Huber).
• (Hempelmann Samson 2008 612)

13

• 5. Studies investigating the influence of formal
  features on humor appreciation such as the degree
  of abstraction vs. realism (Sheppard), or the
  effects of the number of panels (Huber Leder).
• 6. Studies relating cartoons to their own
  professional fields. Paolillo applied the
  General Theory of Verbal Humor Scale to cartoons
  Watson, Matthews and Allman investigated
  differences between language-dependent and
  picture-dependent cartoons in cognitive
  processing.
• (Hempelmann Samson 2008 612)

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• A cartoonists craft may force them to limit
  their originality, because they have fewer than
  10 seconds to grab the attention of viewers, and,
  in fact, to tell whole stories.
• We will start with two classic cartoons by David
  Levine for the New York Review of Books. No
  words are needed, but readers had to have
  cultural knowledge in order to Catch on.

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• After President Lyndon Johnson had gallbladder
  surgery he lifted his shirt to show his scar to
  reporters at a news conference. Levines drawing
  shows that his real scar was in the shape of
  Vietnam.
• President Reagan, who was famous for cutting
  welfare is compared to Marie Antoinette who after
  being told that the people had no bread famously
  said, Let them eat cake.

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• Cultural Icons can be either
• recognized visual symbols
• or familiar words that can be parodied.
• Cartoonists first have to help the viewers into
  the mindset of the original,
• Then take them in a new direction.

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• As with Mike Peterss 1984 criticism of President
  Reagans military support of El Salvador
• I pledge a billion to the flag
• of the right wing government of El Salvador
• And to the death squads for which it stands
• One nation, underfed
• Indefensible
• With M-16s and Howitzers for all.

20
These words have come into English from various
cartoons POW! ZAP! WHAM! ZIP! ZOWIE! Teddy
Bear Gerrymander Yellow Journalism McCarthyism
(from Senator Simple J. Malarkey in the Pogo
Comic Strip)
21
ARACHNOPHOBIA ? IRAQNAPHOBIA

• The term Iraqnaphobia was first used in the
  caption of an editorial cartoon by Clay Bennett
  that appeared in the August 3, 1990 edition of
  the St. Petersburg Times. The cartoon shows a
  spider labeled Iraq menacing Kuwait, and the
  caption reads Saddam Hussein Presents
  Iraqnophobia.
• (Dahdal 11)

22

• Under the heading Famous Quotes Throughout
  History Rodewalt drew these interpretations
• Just a cold snap (a couple of dinosaurs)
• Another of your stupid inventions (a cavewoman
  looking at her husbands newly carved wheel)
• What an Idiot--Youll be sorry when you fall off
  the edge of the world. (Italians waving goodbye
  to Christopher Columbus)

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• No problem, white man say just passing through!
  (Indians pointing to a ship in the bay)
• Maybe if you get a haircut people will take you
  seriously (Einsteins wife)
• We will succeed in Iraq (President Bush holding
  his arms in a victory salute!)
• 2004 Rodewalt
• (CWS Cartoon Arts International )

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Obituary Cartoons

• Cartoonists hate doing them, because they have to
  be respectful, no matter what.
• But their audiences love them, because they
  capture the essence of the person who has died.

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• For efficiency, cartoonists make use of common
  visual symbols
• Pointing fingers or arrows
• The Trojan Horse
• Tombstones and the initials R.I.P.
• Skulls/The Grim Reaper

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• The three monkeys
• The Ghost of Christmas Past
• Superman
• Railroad tracks not matching up
• A 1973 Boston Globe Cartoon by Paul Szep showed
  Vietnam as a maze.
• Reprinted in 1975 with added symbolism.

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Other Common Symbols include

• Snakes
• Wolves
• Fantasy characters
• Baby buggies (because they hide information)
• And new interpretations of familiar sayings about
  big sticks (which a person should carry as he
  speaks softly), and where the buck stops.

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• Variations on the Statue of Liberty show how
  symbols can change over time while still
  retaining some of the original meaning.

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• Statue of Liberty cartoons while making many
  different political points still rely on images
  that in most peoples minds are feminine.

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• 1960 Doug MacPherson drew Fidel Castro and
  Nikita Krushev having a picnic on her head.
• 1971 Daniel Aguila drew her with shortened
  robes under the cutline Lib and let lib!
• 1980 Doug Marlett showed her sweeping dirt under
  a rug designed as a flag.

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• 1984 Signe Wilkinson showed her going through a
  sewing factory shouting OK, you huddled masses,
  I know youre in here!
• 2001 After 9/11, a tear falling from one eye
• And two sad eyes reflecting the burning Twin
  Towers

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• 2003 Expressing womanly impatience as she says
  Geez, two years and still no capture of Osameor
  Saddamor Al Qaidaor WMDor the Taliban, or
  Justice or A side note read In a city
  accustomed to the New York Minute.
• 2005 Nick Adams won the 2005 Pulitzer Prize for
  showing President Bush sitting on top of her
  crown wearing earphones hooked to a satellite
  dish, which had replaced the flame in her
  extended arm.

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• The simplified shape of a fish is even more a
  part of what Carl Jung refers to as the
  Collective Unconscious.
• In the early days of Christianity it was marked
  in the sand.
• Today we see it on churches, cars, and religious
  messages, sometimes with a stylized cross serving
  as an eye
• Or with the Greek initials inside that stand for
  Jesus Christ King of the Jews.

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• Weve also seen DARWIN placed inside the fish
• And a bigger Christian fish eating a smaller
  Darwin fish with legs
• Once the surprise was gone, the humor
  disappeared, but the symbol is still there.
• One of our students observed that the O and X at
  the end of the Jack in the Box signs make
  basically the same design.

57

• Also, note the shape of the popular metallic
  ribbons that are twisted to form a rounded top
  like a head with crossed pieces to look like the
  split tail of a fish.
• These first became popular in the 1970s, when
  they were sold as lapel pins to be worn in memory
  of someone who died from AIDS or in support of
  AIDS research. Following 9-11, the design was
  co-opted to show patriotism and support for the
  war on terrorism.

58

• They are made from magnetized metal and are about
  the size of a paperback book.
• They come in all colors and mostly express some
  kind of support for the war on terrorism.
• But we recently saw one proclaiming Pets are
  good for people. Separate pieces of metal in
  the shape of paw prints were placed around it.

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• More and more people put them sideways on their
  cars
• They resemble the old fish pattern except with a
  rounded head.
• Some drivers sport two, three, or more, so their
  vehicles resemble traveling aquariums.

60

• People respond to particular shapes without
  necessarily thinking of how or why.
• They feel the fish shape is appropriate to a
  controversial issue that touches all of us deeply
  whether it is viewing the end of life as
  associated with terrorism or the beginning of
  life as associated with creation and evolution.

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Iraq and the American Flag
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• Coffins have a similar impact. At first the Bush
  administration forbade photographs, but the
  drawings were even more heart-rending because
  cartoonists added their own touches.
• Walt Handelsman drew coffins each covered with a
  funeral bouquet His cutline Theyll be Greeted
  with Flowers.
• Another cartoonist stood coffins on end as an
  eerie reminder of the domino theory that guided
  American policies in Vietnam.

64

• The Abu Ghraib prison scandal again shows shape
  as a hidden persuader.
• The most heart-wrenching photos were of Private
  Lynddie England holding a naked man on a dog
  leash, a pyramid of naked Iraquis, and a hooded
  prisoner silhouetted in a ragged, black blanket.
• Out of 40 Abu Ghraib cartoons reprinted in Best
  of the Year collections, more than half featured
  this man on the box.

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• !It was the most dramatic of the images.
• The simplicity of design made it easy to
  highlight.
• It inspired viewers to pull related images from
  their own minds as in comparing it to the Ku Klux
  Klan.

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!!!
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Related PowerPoints

• Art and Humor
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71
PULITZER PRIZES 1974-1978

• 1974 PULITZER PRIZE PAUL SZEP
• http//www.szep.com/szep_thisweek.htm
• 1975 PULITZER PRIZE GARRY TRUDEAU
• http//www.ucomics.com/doonesbury/bio.phtml
• 1976 PULITZER PRIZE TONY AUTH
• http//www.gocomics.com/tonyauth/
• 1977 PULITZER PRIZE PAUL SZEP
• http//www.szep.com/szep_thisweek.htm
• 1978 PULITZER PRIZE JEFF MACNELLY
• http//www.macnelly.com/

72
PULITZER PRIZES 1979-1983

• 1979 PULITZER PRIZE HERBERB BLOCK
• http//www.loc.gov/rr/print/swann/herblock/
• 1980 PULITZER PRIZE DON WRIGHT
• http//www.comicspage.com/donwright/donwright.html
  
• 1981 PULITZER PRIZE MIKE PETERS
• http//www.grimmy.com/editorials.php
• 1982 PULITZER PRIZE BEN SARGENT
• http//www.ucomics.com/bensargent/
• 1983 PULITZER PRIZE DICK LOCHER
• http//www.comicspage.com/locher/dicklocher.html

73
PULITZER PRIZES 1984-1988

• 1984 PULITZER PRIZE PAUL CONRAD
• http//www.ucomics.com/paulconrad/
• 1985 PULITZER PRIZE JEFF MACNELLY
• http//www.macnelly.com/
• 1986 PULITZER PRIZE JULES FEIFFER
• www.julesfeiffer.com
• 1987 PULITZER PRIZE BERKELEY BREATHED
• http//www.berkeleybreathed.com/pages/index.asp
• 1988 PULITZER PRIZE DOUG MARLETTE
• http//dougmarlette.com

74
PULITZER PRIZES 1989-1992

• 1989 PULITZER PRIZE JACK HIGGINS
• http//www.suntimes.com/higgins/higgins350.html
• 1990 PULITZER PRIZE TOM TOLES
• http//www.washingtonpost.com/wp-srv/opinion/toles
  .html
• 1991 PULITZER PRIZE JIM BORGMAN
• http//borgman.enquirer.com
• 1992 PULITZER PRIZE SIGNE WILKINSON
• http//www.philly.com/mld/dailynews/news/special_p
  ackags/signe/

75
PULITZER PRIZES 1993-1996

• 1993 PULITZER PRIZE STEVE BENSON
• http//www.azcentral.com/arizonarepublic/opinions/
  benson/
• 1994 PULITZER PRIZE MICHAEL RAMIREZ
• http//cagle.slate.msn.com/politicalcartoons/PCcar
  toons/ramirez.asp
• 1995 PULITZER PRIZE MIKE LUCKOVICH
• http//www.ajc.com/opinion/content/opinion/luckovi
  ch/index.html
• 1996 PULITZER PRIZE JIM MORIN
• http//www.miami.com/mld/miamiherald/news/editoria
  l/cartoons/

76
PULITZER PRIZES 1997-2000

• 1997 PULITZER PRIZE WALT HANDELSMAN
• http//www.newsday.com/ny-walt-july2005,0,77592.ph
  otogallery
• 1998 PULITZER PRIZE STEVE BREEN
• http//www.injersey.com/breen/portfolio/1,1959,0,0
  0.html
• 1999 PULITZER PRIZE DAVID HORSEY
• http//seattlepi.nwsource.com/horsey/
• 2000 PULITZER PRIZE JOEL PETT
• http//www.newseum.org/pett/about.htm

77
PULITZER PRIZES 2001-2004

• 2001 PULITZER PRIZE ANN TELNAES
• www.anntelnaes.com
• 2002 PULITZER PRIZE CLAY BENNETT
• www.claybennett.com
• 2003 PULITZER PRIZE DAVID HORSEY
• http//seattlepi.nwsource.com/horsey/
• 2004 PULITZER PRIZE MATT DAVIES
• http//www.comicspage.com/mattdavies/matt_about.ht
  ml

78
PULITZER PRIZES 2005-2008

• 2005 PULITZER PRIZE NICK ANDERSON
• http//www.cartoonistgroup.com/properties/anderson
  /home.php
• 2006 PULITZER PRIZE MIKE LUCKOVICH
• http//www.ajc.com/opinion/content/opinion/luckovi
  ch/index.html
• 2007 PULITZER PRIZE WALT HANDELSMAN
• http//www.newsday.com/ny-walt-july2005,0,77592.ph
  otogallery
• 2008 PULITZER PRIZE MICHAEL RAMIREZ
• http//cagle.slate.msn.com/politicalcartoons/PCcar
  toons/ramirez.asp

79

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