Political Cartoons

About This Presentation

Title: Political Cartoons

Description:

Political Cartoons – PowerPoint PPT presentation

Number of Views:2126

Learn more at:http://www.public.asu.edu

Slides: 94

Subcategory:

Tags: cartoon | humor | nec | photo | shop

Add more tags

more less

About This Presenter

asuclas

Number of Uploads:2

Total number of views:2151

Avg rating:5.0/5.0

Write a Comment

User Comments (0)

Transcript and Presenter's Notes

Title: 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)

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)

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)

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)

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.

15
(No Transcript)
16
(No Transcript)
17

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.

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.

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)

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)

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 )

24
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.

25
(No Transcript)
26
(No Transcript)
27
(No Transcript)
28

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

29
(No Transcript)
30
(No Transcript)
31

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.

32
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.

33
(No Transcript)
34
(No Transcript)
35
(No Transcript)
36
(No Transcript)
37
(No Transcript)
38
(No Transcript)
39
(No Transcript)
40
(No Transcript)
41
(No Transcript)
42

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

43
(No Transcript)
44
(No Transcript)
45

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

46
(No Transcript)
47

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.

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

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.

50
(No Transcript)
51
(No Transcript)
52
(No Transcript)
53
(No Transcript)
54

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.

55
(No Transcript)
56

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.

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.

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.

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.

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.

61
Iraq and the American Flag
62
(No Transcript)
63

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.

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.

65
!
66
(No Transcript)
67

!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.

68
!!
69
!!!
70
Related PowerPoints

Art and Humor
Comix
Optical Illusions
Visual Literacy

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-july2005077592.ph
otogallery
1998 PULITZER PRIZE STEVE BREEN
http//www.injersey.com/breen/portfolio/1195900
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-july2005077592.ph
otogallery
2008 PULITZER PRIZE MICHAEL RAMIREZ
http//cagle.slate.msn.com/politicalcartoons/PCcar
toons/ramirez.asp

References 1
Abe Goh. Political and Social Satirical
Cartoons in Nepal. A Collection of Treatises on
Language and Literature 15 (1998) 53-70.
Anderson Ronald E. and Elaine Jolly.
Stereotyped Traits and Sex Roles in Humorous
Drawings. Communication Research 4 (1977)
453-479.
Attardo Salvatore and Diana Popa Eds. New
Approaches to the Linguistics of Humor. Galati
Romania Dunarea de Jos 2007.
Attardo Salvatore and Victor Raskin. Script
Theory Revis(it)ed Joke Similarity and Joke
Representation Model. HUMOR International
Journal of Humor Research 4.3-4 (1991) 293-347.
Baumgartner Jody C and Jonathan S. Morris Eds.
Laughing Matters Humor and American Politics in
the Media Age. New York NY Routledge 2008.
Behrens Roy R. Beyond Caricature On Types of
Humor in Art. The Journal of Creative Behavior
11.3 (1977) 165-175.

References 2
Bogardus Emory S. Sociology in the Cartoon.
Sociology and Social Research 30 (1945) 139-147.
Bonaiuto Paolo. Art Science and Humor The
Study of Humorous Experience at the Intersection
between Psychology and the Art World. Empirical
Studies of the Arts 24.1 (2006) 3-41.
Boskin Joseph. The Humor Prism in 20th Century
America. Detroit MI Wayne State University
Press 1997.
Brodzinsky David M. and Janet Rubien. Humor
Production as a Function of Sex and Subject
Creativity and Cartoon Content. Journal of
Consulting and Clinical Psychology 44 (1976)
597-600.
Brooks Charles Ed. Best Editorial Cartoons of
the Year. Gretna LA Pelican 1979-2007.

References 3
Cagle Daryl and Brian Fairrington Eds. The
Best Political Cartoons of the Year 2005
Edition. New York NY Que Publishing. 2005.
Cagle Daryl and Brian Fairrington Eds. The
Best Political Cartoons of the Year 2006
Edition. New York NY Que Publishing. 2006.
Carroll Patrick J. Jason R. Young and Michael
S. Guertin. Visual Analysis of Cartoons A View
from the Far Side. in Eye Movements and Visual
Cognition Scene Perception and Reading Ed. Keith
Rayner. New York NY Springer 1992.
Chapman Anthony J. and Hugh C. Foot eds.
Humour and Laughter Theory Research and
Applications London England John Wiley 1976.
Corcoran Rhiannon Connie Cahill and
Christopher D. Firth. The Appreciation of Visual
Jokes in People with Schizophrenia A Study of
Mentalizing Ability. Schizophrenia Research 24
(1997) 319-327.

References 4
Dahdal Sylvia H. Defending the Indefensible
Words of War or War of Words Tempe AZ ASU LIN
515 Paper April 18 2006.
Derks Peter. Category and Ratio Scaling of
Sexual and Innocent Cartoons. Humor
International Journal of Humor Research 5.3
(1992) 19-33.
Derks Peter and Sanjay Arora. Sex and Salience
in the Appreciation of Cartoon Humor. HUMOR
International Journal of Humor Research 6.1
(1993) 57-69.
Dirr Karen L. and Alice A. Katz. Cartoons vs.
Realistic Illustration Picture Preference of
Adolescent Patients. Journal of Biocommunication
16.4 (1989) 2-7.
Egan Timothy. Defiantly Incorrect The Humor of
John Callahan. Living Language. Ed. Alleen Pace
Nilsen. Needham Heights MA Allyn and Bacon
1999.

References 5
El Refaie Elisabeth. Understanding Visual
Metaphor The Example of Newspaper Cartoons.
Visual Communication 2 (2003) 75-95.
Felker Donald W. and Dede M. Hunter. Sex and
Age Differences in Response to Cartoons Depicting
Subjects of Different Ages and Sex. Journal of
Psychology 76 (1970) 19-21.
Fischer Roger A. Them Damned Pictures. New
Yaven CT Archon Books 1996.
Fisher Seymour and Rhoda L. Fisher. Pretend the
World Is Funny and Forever A Psychological
Analysis of Comedians. Hillsdale NY Erlbaum
1981.
Gallagher Helen L. Francesca Happé Nicola
Brunswick Paul C. Fletcher Uta Frith and
Christopher D. Frith. Reading the Mind in
Cartoon and Stories An fMRI Study of Theory of
Mind in Verbal and Nonverbal Tasks.
Neuropsychologia 38 (2000) 11-21.

References 6
Gerberg Mort. Cartooning The Art and the
Business. New York NY William Morrow 1989.
Giarelli Ellen and Lorraine Tulman.
Methodological Issues in the Use of Published
Cartoons as Data. Qualitative Health Research
13.7 (2003) 945-956.
Goldstein Jeffrey H. and Paul E. McGhee eds.
The Psychology of Humor Theoretical Perspectives
and Empirical Issues. New York NY Academic
Press 1972.
Gombrich Ernst H. Art and Illusion. New York
NY Pahidon 2002.
Gombrich Ernst H. The Cartoonists Armoury. in
Meditations on a Hobby Horse 3rd Edition Ed.
Ernst H. Gombrich. New York NY Phaidon 1978.

References 7
Hagen Margaret A. and David Perkins. A
Refutation of the Hypothesis of the Superfidelity
of Caricatures Relative to Photographs.
Perception 12 (1983) 55-61.
Hempelmann Christian F. and Andrea C. Samson.
Cartoons Drawn Jokes in Raskin (2008)
609-640.
Hempelmann Christian F. and Andrea C. Samson.
Visual Puns and Verbal Puns Descriptive or
False Analogy in Attardo and Popa (2007)
180-196.
Herzog Thomas R. Gender Differences in Humor
Appreciation Revisited. HUMOR International
Journal of Humor Research 12 (1999) 411-423.
Herzog Thomas R. and Andrew J. Hager. The
Prediction of Preference for Sexual Cartoons.
HUMOR International Journal of Humor Research
8.4 (1995) 385-405.

References 8
Herzog Thomas R. and David A. Larwin. The
Appreciation of Humor iln Captioned Cartoons.
The Journal of Psychology 122 (1988) 597-607.
Hess Stephen and Sandy Northrop. Drawn and
Quartered The History of American Political
Cartoons. Montgomery AL Elliott and Clark
Publishing 1996.
Hirt Michael and Judy Genshaft. The Effects of
Incongruity and Complexity on the Perception of
Humor. Personality and Individual Differences 3
(1982) 453-455.
Huber Oswald and Helmut Leder. Are More
Compact Cartoons More Humorous HUMOR
International Journal of Humor Research 10
(1997) 91-103.
Jones James M. Gary A. Fine and Robert G.
Brust. Interaction Effects of Picture and
Caption on Humor Ratings of Cartoons. The
Journal of Social Psychology 108 (1979) 193-198.

References 9
Karabas Seyfri. Hairy Turkish Cartoons. HUMOR
International Journal of Humor Research 3.2
(1990) 193-215.
Kazanevsky Vladimir. The History of the Cartoon
in the USSR. HUMOR International Journal of
Humor Research 8.2 (1995) 167-176.
Keener Polly. Cartooning. Englewood Cliffs NJ
Prentice Hall 1992.
Kunzle David. The Early Comic Strip Narrative
Strips and Picture Stories in the European
Broadsheed From c. 1450 to 1825. Berkeley CA
University of California Press 1973.
Lamb Chris. Drawn to Extremes The Use and Abuse
of Editorial Cartoons. New York NY Columbia
University Press 2004.

References 10
Lessard Denys. Puns and Cartoons. Semiotica
85.1-2 (1991) 73-89.
Lewis Paul Christie Davies Giselinde Kuipers
Rod A. Martin Elliott Oring and Victor Raskin.
The Muhammad Cartoons and Humor Research A
Collection of Essays. HUMOR 21.1 (2008) 1-46.
Love Ann Marie and Lampert H. Deckers. Humor
Appreciation as a Function of Sexual Aggressive
and Sexist Content. Sex Roles 20 (1989)
649-654.
Lowis Michael J. and Johan M. Nieuwoudt. Use
of a Cartoon Rating-Scale as a Measure for the
Humor Construct. Journal of Psychology 129.2
(1995) 133-144.
Maddocks Peter. So You Want to be a Cartoonist
London England Unwin 1982.

References 11
Mankoff Robert. The New Yorker Book of Political
Cartoons. Princeton NJ Bloomberg Press 2000.
Marjoram Dominic Dominic E. Job Heather C.
Walley Viktoria-Eleni Gountouna Andrew M.
McIntosh Enrico Simonotto David
Cunningham-Owens Eve C. Johnstone and Stephen
Lawrie. A Visual Joke fMRI Investigation into
Theory of Mind and Enhanced Risk of
Schizophrenia. NeuroImage 31.4 (2006)
1850-1858.
Mauro Robert and Michael Kubovy. Caricature
and Face Recognition. Memory and Cognition 20.4
(1992) 433-440.
McKay T. D. and M. E. McKay. Captioned and
Non-Captioned Cartoons Effects of Structural
Properties on Ratings of Humor. Perceptual and
Motor Skills 54 (1982) 143-146.

References 11
Morris Ray. Visual Rhetoric in Political
Cartoons A Structuralist Approach. Metaphor and
Symbolic Activity 8 (1993) 195-210.
Nilsen Alleen Pace. Living Language. Boston MA
Allyn and Bacon 1999.
Nilsen Alleen Pace and Don L. F. Nilsen.
Encyclopedia of 20th-Century American Humor.
Westport CT Greenwood Press 2000.
Paolillo John C. Gary Larsons Far Side
Nonsense Nonsense! HUMOR International Journal
of Humor Research 11 (1998) 261-290.
Pearson Paul. Personality Characteristics of
Cartoonists. Personality and Individual
Differences 4 (1983) 227-228.

References 12
Raskin Victor ed. Primer of Humor Research. New
York NY Mouton de Gruyter 2008.
Rhodes G. S. Brennan and S. Carey.
Identification and Ratings of Caricatures
Implications for Mental Representations of
Faces. Cognitive Psychology 19 (1987) 473-497.
Samson Andrea C. and Oswald Huber. The
Interaction of Cartoonists Gender and Formal
Features of Cartoons. HUMOR International
Journal of Humor Research 20.1 (2007) 1-25.
Schmidt Stephen R. and Alan R. Williams.
Memory for Humorous Cartoons. Memory and
Cognition 29 (2001) 305-311.
Sheppard Alice. Developmental Levels in
Explanations of Humour from Childhood to Late
Adolescence. in Chapman and Foot 1976
225-228.

References 13
Sheppard Alice. Effect of Mode of
Representation on Visual Humor.
PsaychologicalReports 52 (1983) 299-305.
Shultz Thomas R. A Cognitive-Developmental
Analysis of Humour. in Chapman Foot 1976
11-36.
Suls Jerry M. A Two-Stage Model for the
Appreciation of Jokes and Cartoons An
Information-Processing Analysis. in Goldstein
and McGhee (1972) 81-100.
Thompson Teresa L. and Eugenia Zerbinos.
Gender Roles in Animated Cartoons Has the
Picture Changed in 20 Years Sex Roles 32
(1995) 651-673.
Trostle J. P. Ed. Attack of the Political
Cartoonists Insights and Assaults from Todays
Editorial Pages. Madison WI Dork Storm Press
2004.

References 14
Tsakona Villy. Language and Image Interaction
in Cartoons Towards a Multimodal Theory of
Humor. Journal of Pragmatics In Press.
Tversky B. and D. Baratz. Memory of Faces Are
Caricatures Bettern than Photographs Memory and
Cognition 13 (1985) 45-49.
Watson Karli K. Benjamin J. Matthews and John
M. Allman. Brain Activation During Sight Gags
and Language-Dependent Humor. Cerebral Cortex 17
(2006) 314-324.
Whitaker Steve. The Encyclopedia of Cartooning
Techniques. East-Roseville Simon and Schuster
1994.
Wright Thomas. A History of Caricature and
Grotesque in Literature and Art. London England
Chatto and Windus 1875.

About PowerShow.com

Political Cartoons - PowerPoint PPT Presentation

Political Cartoons – PowerPoint PPT presentation