Partiality of Cartoon Journalism: Focused on the Political Cartoons of the Yellow Press and the Post-Truth

2020 ◽  
Vol 36 ◽  
pp. 201-221
Author(s):  
Seh Hyuck Park ◽  
Keyword(s):  
Political Cartoons ◽  
The Political

The Free Republican Party in the political cartoons of the 1930s

2015 ◽  
Vol 53 ◽  
pp. 93-136
Author(s):  
Gökçen Başaran İnce
Keyword(s):  
Thematic Analysis ◽  
Republican Party ◽  
Party System ◽  
Historical Memory ◽  
Political Cartoons ◽  
The Political ◽  
Political Messages ◽  
People's Party ◽  
The Social ◽  
Kemal Ataturk

AbstractThe Free Republican Party (FRP; Serbest Cumhuriyet Fırkası), founded and dissolved in 1930, represented the second attempt to transition to a multi-party system in Turkey, following the formation of the Progressive Republican Party (Terakkiperver Cumhuriyet Fırkası) in 1924. In contrast to the oppositional establishment of the latter, the FRP seemed to be a state-originated project whose establishment was decided upon by the elites of the day, led by Mustafa Kemal Atatürk. Its representation in contemporary cartoons is deemed important today given the political cartoon’s ability to simplify complex political messages into understandable symbols and metaphors and to address or reach those who may not be literate. Taking into account the social structure of society during this period, this aspect of the reach of cartoons becomes particularly important. Political cartoons’ ability to both support the text in a newspaper and penetrate historical memory through stereotypes is also significant in terms of the representation of personalities and events. This article will attempt to analyze the formation of the FRP and the depiction of its elites through newspaper cartoons. Three prominent and pro-Republican People’s Party (Cumhuriyet Halk Partisi) newspapers of this period—namely Cumhuriyet, Milliyet, and Vakit—will provide the material for the content and thematic analysis of the study.

scholarly journals The Power of Political Cartoons: A Case Study of Zunar’s ‘Twit Twit Cincin’

2021 ◽  
Vol 37 (1) ◽  
pp. 146-180
Author(s):  
Roslina Abdul Latif ◽  
◽  
Sojoud Elgarrai ◽  
Keyword(s):  
Visual Rhetoric ◽  
Social Issues ◽  
Institutional Reform ◽  
The State ◽  
Political Cartoons ◽  
The Political ◽  
Works Of Art ◽  
The Way

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.

scholarly journals Study of Acceptance of Indian Political Cartoons in Facebook Landscape

2021 ◽  
Vol 10 (10) ◽  
pp. 137-142
Author(s):  
Prasun Chakraborty* ◽  
◽  
Anirban Chowdhury ◽  
Keyword(s):  
Economic Status ◽  
Descriptive Statistics ◽  
Indian Society ◽  
Political Cartoons ◽  
The Political ◽  
Political Issues ◽  
The People ◽  
Males And Females ◽  
Female User ◽  
Different Parts

Indian society changed after digitalization and economical reformation. Currently, the Facebook is the most popular social media in India. The political cartoonist took that platform as an opportunity to share their thoughts and raise socio-political issues through their cartoons. The aim of the paper is to study responses (likingness and affective) to political cartoons in respect to responsiveness towards cartoons, gender, and socio-economic status. The study was conducted among 875 Indians from different parts of India including males and females with various socio-economic backgrounds. The data captured in the form of sentiments (love, sadness, angry and happiness emotions) for each cartoon shared in the Facebook timeline. Then, relevant descriptive statistics were computed using IBM SPSS 20.0 software. Results showed that maximum Facebook users expressed their thoughts about political cartoons through emoticons in terms of like, sad, angry, and happiness. It is found that male user are more likely to be expressive to political cartoons than female user. Mostly user from low and middle socio-economic backgrounds relate themselves with the cartoon scenarios and shown interest than users from higher class of the society. Hence, political socio-political scenarios can be communicated effectively using political cartoons in Facebook as the people of India are relating themselves with various cartoons.

scholarly journals Fisiognomía y fealdad cómica en la caricatura política de Enrique Hine (Physiognomy and Comic Ugliness in the Political Cartoons of Enrique Hine)

LETRAS ◽  
2017 ◽  
Vol 1 (59) ◽  
pp. 155
Author(s):  
Gabriel Baltodano Román
Keyword(s):  
Costa Rican ◽  
Political Cartoons ◽  
The Political ◽  
Political Protest ◽  
Graphic Artist

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. 

Two Worlds

2019 ◽  
pp. 518-541
Author(s):  
Stephen M. Norris
Keyword(s):  
Sense Of Belonging ◽  
Political Cartoons ◽  
The Political ◽  
The World ◽  
Powerful Means

This article analyzes the political cartoons of Boris Efimov, one of the most significant Soviet propagandists, and how they helped to construct a Soviet way of seeing the world. Published in major newspapers and journals, Efimov’s caricatures, along with those of his fellow political cartoonists, attempted to create a sense of belonging by fostering an “emotional truth,” one conveyed through key symbols and concepts that would be repeated across the Soviet century. Efimov’s rendering of “two worlds”—one safe, strong, and masculine; one decrepit, weak, and scheming—served as a powerful means to construct Soviet sensibilities and Soviet truths.

Multimodal conceptual patterns of Hungary in political cartoons

2020 ◽  
Vol 7 (1) ◽  
pp. 222-253
Author(s):  
Ágnes Virág
Keyword(s):  
Political System ◽  
System Change ◽  
Corpus Analysis ◽  
Political Cartoons ◽  
The Political ◽  
Identification Procedure ◽  
Financial Situation ◽  
Negative Images ◽  
Main Target ◽  
Multimodal Representations

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.

CONTRAST IN POLITICAL CARTOONS OF THE GREAT PATRIOTIC WAR

2021 ◽  
pp. 75-91
Author(s):  
Galina L. Denisova ◽  
Keyword(s):  
Emotional State ◽  
Russian Language ◽  
Political Cartoons ◽  
The Political ◽  
The Past ◽  
Great Patriotic War ◽  
The One ◽  
Different Characteristics ◽  
The Russian Language ◽  
Different Levels

The article has for an object to determine themes of the Great Patriotic War cartoons based on the contrast between of two pictures and to detect and describe aims that cartoonists try to achieve with help of the political cartoons under study. The author conducts research of the Great Patriotic War cartoons created by Kukryniksy, a group of caricaturists, which M.V. Kupriyanov, P.N. Krylov, and N.A. Sokolov belonged to. They often involved S.Ya. Marshak in the work on the verbal part of their political cartoons. Some of the political cartoons under study give an example of wholeness of his rhymes and the painter’s pictures. The author treats the political cartoon of the Great Patriotic War as a message that is addressed to the Russian language personality and is a polycode one, which presupposes that information, which caricaturists code into the cartoon, is a result of cooperation between iconic and verbal means. Using Yu.N. Karaulov’s idea about the structure of the language personality, the author describes the encoding-decoding process of political cartoons meaning, in forming of which codes of different semiotic systems take part, as projections onto different levels of the language personality where these projections activate a certain string of associative links. The analysis of the political cartoons under study made it possible to detect five themes discussed in them: change of the state of things, change of personage’s emotional state, personage’s intention and results of its realization, action-and-reaction, personage’s mask and his real identity. Describing the political cartoons, the author ascertains that, combining two pictures based on the contrast within the bounds of a political cartoon, the caricaturists fulfill specific range of tasks. (1) The contrast of pictures, which contain both similar and different elements, furthers directing and holding of addressee’s attention. The caricaturists stimulate the addressee of the message to an active search for similar and different elements on those pictures, which diverts the addressee. (2) The contrast in the political cartoon can produce comical effect or increase it. The more cloudless the situation is for the personage on the first picture, the clearer it is to everyone how abased he is on the second one. (3) The contrast of situations with different characteristics (the one in the past and another in the present / the real situation and its hypothetical projection) in a message in the form of a political cartoon can have an explanatory function. The evil depicted on the first picture serves as proof of rightfulness and necessity of counteraction to it. If the form of such counteraction is shown on the second picture, the message contains an indirect appeal to the addressee for his active counteraction to this evil. (4) The usage of contrast for discussion of the theme “personage’s mask and his real identity” enables to show the true face of him, to give his personality a certain estimate and to form addressee’s opinion of the characterized person.

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