Explanation: The cartoon depicts Hugo Chavez rolling on top of an oil barrel, escaping an angry mob of Venezuelan citizens. Chavez is infamous for taking money that would benefit his fellow citizens and channeling it towards projects that promote his own political agendas. Therefore, the cartoonist is very practical as the drawing and sketches utilize all the necessary features in relaying the intended message to the society. Features in the portrait Hugo Chaves such as oil barrel and an angry mob, help the readers to decipher corruption. According to Kange, corruption is a factor that is affecting many developing countries and has hampered their development and progress (14). The cartoon also acts as a warning to leaders who engage in corrupt practices since they can face the wrath of current citizens who are more enlightened than the preceding generations.
Hugo Chavez rolling on top of an oil barrel.
Western Europe
Area: The United States
Cartoonist: Glenn McCoy
Explanation: The cartoonist uses the cartoon of an individual explaining the challenges that people can experience when they engage in global warming activities. The activities, which relate to global warming, create harm in the world in terms of increasing the average temperature of the world. According to Brooks (162), it is imperative that people try to save the world from the effects of global warming. From the cartoon, a picture develops in the minds of readers that global warming is a global challenge. The implication of a cartoon that develops in the minds of readers is an amplified attempt to minimize activities that increase the worlds vulnerability to global warming. The message conveyed by the cartoons also encourages people to engage in operations that reduce the negative effects that global warming has on the sustainability and long life of the planet.
Glenn McCoy.
Japan
Location of Japan
Cartoonist: Bill Schorr
The main message that the cartoon brings to the fore includes the disasters that are impending in Japan. The cartoonist uses the drawing to express the future of the world and the consequences that came along with global warming. According to the cartoonists, many individuals engage in careless behavior that does a lot of harm to the earth and reduces its ability to sustain and accommodate future generations. Some of these behaviors include pollution, nuclear tests, and the use of agrochemicals. Bolen and Robison argue that global warming is a critical issue that can result in wildfires, unprecedented changes in weather patterns, earthquakes, hurricanes, and tornados (161). The cartoon depicts some of the consequences that global warming occasion, which includes earthquake and tsunami.
Bill Schorr.
China and Sub-Sahara Africa
Area: Sub-Sahara Africa
Cartoonist: Adenle Adewale
Explanation: This is one of a series of cartoons published in 1996 demonstrating the frustration of the Nigerian people. The cartoon shows a Nigerian citizen, nailed down by an oppressive General Sanai Abacha and his regime, literally starving for democracy. The cartoon sends a number of messages to the society that concern corruption, misuses of resources, and democracy. According to cartoonists, many individuals in developing countries are starving for democracy. Corruption is a prevalent vice in many developing countries, as most of their leaders have greed for power and money (Steinberg 11). From the cartoon and sketches, it is clear that leaders of these nations prevented their citizens from gaining get the much-needed democracy but instead remain nailed as slaves of the country.
Adenle Adewale.
The Middle East and North Africa
Location: Afghanistan
Cartoonist: John Cox and Allen Forkum
Explanation: In the cartoon, the cartoonist uses the cartoon of Iran leader Mahmoud Ahmadinejad to create awareness in the minds of people living in nations and states to explain the importance of curbing nuclear proliferation and its negative impacts. The cartoonist uses a sketch that shows the president of Iran, expressing his need to destroy countries such as the United States and Israel using nuclear weapons. In the cartoonists assertion, weapons of mass destruction aimed at destroying Israelites and Americans. Dobson (45) argues that the unchecked use of nuclear energy can proliferate the manufacturing and the use of nuclear weapons. Thus, the use of the cartoon is very instrumental in presenting the impact of nuclear weapons on global security.
John Cox and Allen Forkum.
India
Area: India
Cartoonist: Satish Acharya
Explanation: The cartoon depicts that citizens of India have been through the regimes that tolerate injustices. Corrupt practices have dominated the Indian regimes, which have contributed to systemic impunity in the judiciary. As the current regime wants to free known killers of a political leader, it elicits uproar in India. From the cartoon, it is evident that decades have passed while citizens are still expecting justice, although past regimes denied them. While a man is looking for justice for his father, another is seeking justice for the 1980s events, and some are seeking justice for recent events. This implies that the regimes in India have continued to perpetuate injustices against their citizens by delaying and denying them justice. In essence, the demonstration that is evident in the cartoon depicts hungry protesters who are determined to achieve their respective justice, no matter the delays or denials that they encounter.
Satish Acharya.
Eastern Europe and Russia
Location: Russia
Cartoonist: Mark Roberts
Explanation: The cartoons here comprise of some individuals who are discussing issues regarding nuclear testing. Through the cartoons, a picture develops in the minds of readers concerning the divergent perspectives held by individuals on aspects that regard nuclear weapons. The cartoonist employs complex political concepts to make the discussion among the cartoons interesting and creative. With the use of terms such as the jellyfish, vertebrates, and global fish stock, the cartoonist conveys the intended message. According to Cirincione, the presence of nuclear weapons in the world is a threat to humanity because they have the potential of causing massive destruction (10). Therefore, the cartoonist is conveying a very crucial message to the society concerning the use of nuclear weapons.
Mark Roberts.
Philippines
Location: Philippines
Cartoonist: Pat Bagley
Explanation: Since the Philippines frequently experience natural disasters such as typhoons, hurricanes, and floods, the cartoonist in depicting the experience that people undergo. In the cartoon, there is a young family made of father, mother, and a child who are conversing about the experience of the disaster that hit them. The disaster has destroyed their house, and they are seated outside, wondering what next about their lives. The family is in a desolate and hopeless state because the disaster has destroyed their property and thus makes them homeless and poor. Typhoon Haiyan rocked the Philippines late last year and left thousands of people under dilapidated conditions that require humanitarian aid to improve their lives and survive.
Pat Bagley.
Southeast Asia
Location: China
Cartoonist: Willa Chen
Explanation: The sketch is an illustration of a processing plant in China that manufactures certain products. From the sketch, it is clear that the plant emits high amounts of smoke that are harmful to the environment. Therefore, using the sketch, the cartoonist sends a message to the readers that pollution is harmful to society as it destroys the environment. Harrison argues that pollution occurs when individuals introduce harmful substances in a given environment (47). In the sketch, the smoke is black in color and is voluminous, which implies that the amount of harm that it has on the environment is very high and pronounced. The use of a small processing plant demonstrates the pollution magnitude of big processing plants. In addition, the sketch brings to the fore the pollution effects that processing plants have on the environment, water, soil, and air.
Willa Chen.
Africa
Location: Africa
Source: My drawing
Cartoonist: Me
My drawing.
Explanation: The cartoons depict Alshaabab, which is a terror group linked to Al-Qaeda terrorists fighting against the United States Army in Somalia. In the cartoon, Alshaabab is running away from Somalia into safe countries such as Kenya and Tanzania. As the United States and the United Nations started to invade Somalia, terrorists escaped and hid in other African countries. Thus, the cartoonist explains that although the United States and the United Nations Army invaded Somalia and dealt with the terrorists, they did not destroy all of them because some escaped and hid in some African Countries.. Therefore, the cartoon conveys a message to the society that terrorism is a global crisis and that all the individuals in the world have the responsibility of preventing the crisis (Phillips 25). The use of simple features enables readers to decipher the complexity of the issue of terrorism and Alshaabab globally.
Works Cited
Bolen, Eric and William Robison. Wildlife Ecology and Management. New Jersey: Prentice Hall/Pearson Education, 2003. Print.
Brooks, Charles. Best Editorial Cartoons of the Year: 2009 Edition. New Orleans: Pelican publishers, 2008. Print.
Cirincione, Joseph. Bomb Scare: The History and Future of Nuclear Weapons. Columbia: Columbia University Press , 2013. Print.
Dobson, Hugo. Japan and the G7/8: 1975-2002. New York: Routledge, 2004.Print.
Harrison, Roy. Pollution: Causes, Effects and Control. London: Royal Society of Chemistry, 2001. Print.
Kange, Augustine. Governance Challenges and Opportunities: A Qualitative Exploration of Leadership in Cameroon. Michigan: ProQuest, 2006. Print.
Phillips, Douglas. Americas Role in Changing the World. New York: Infobase Publishing, 2010. Print.
Steinberg, Paul. Environmental Leadership in Developing Countries: Transnational Relations and Biodiversity Policy in Costa Rica and Bolivia. New York: MIT Press, 2003. Print.
Who was involved? Which Side was supported by the Soviet Union/USA?
After the Second World War, the western part of Berlin was occupied by France, the United Kingdom, and the United States, and the eastern part was controlled by the USSR. These countries were directly involved in the conflict; however, France, Britain, and the United States were also supported by the other 12 European countries that became the founders of NATO (“The Berlin Airlift,” 2018).
Where did the event take place?
The events took place on the territory of Berlin in occupied Germany, precisely in its western part, which at that time received the name Bezonia (“The Berlin Airlift,” 2018). In the cartoon (Shepard, 1948), the location is displayed with the Berlin sign in the background.
When did the event take place?
East Berlin was also indirectly involved in the events, as well as regions adjacent to West Berlin, controlled by the USSR. The Soviet authorities needed these areas to block transport roads with the city.
What happened during the event?
On June 24, 1948, Soviet troops closed water, rail, and auto roads that connected the western part of Berlin with the rest of the country. Food, coal, and even electricity were no longer supplied to this part of the city, so residents would soon have to face hunger. However, the combined forces of France, the United States, and England launched Operation Vittles” and “Operation Plainfare,” the purpose of which was to deliver food to West Berlin by air (“The Berlin Airlift, 1948–1949,” n.d.). Initially, such measures were difficult to implement, so diplomats tried to negotiate with the Soviet government. However, the USSR did not want to make concessions, so Western countries continued to deliver food and coal (The Berlin Airlift, 1948–1949,” n.d.). In the cartoon, instead of airplanes, there are storks, which are usually symbols of good news, and they also hold coal and food in their beaks (Shepard, 1948). At the same time, the USSR could not attack aircraft, as this step would mean a declaration of war (Reading Through History, 2016). For this reason, the cartoon depicts Stalin, the head of the Soviet Union, who looks at the sky but can not use his weapons to shoot the birds.
Why did the event happen? (i.e. what caused the event?)
The reason for the beginning of the blockade was the creation by the West Berlin authorities of a new currency, the Deutsch Mark (“The Berlin Airlift,” 2018). This step showed the intentions of the United States, Britain, and France to create a new state on the territory that the USSR wished to have in its power. For this reason, the USSR tried to force Western countries to change their intentions by endangering the lives of thousands of people. However, the context that created this situation was the beginning of the confrontation between the two camps in the Cold War.
How was the event resolved?
The attempts of the USSR to force the western countries to retreat were unsuccessful, so they gave up. On May 11, 1949, Moscow lifted the blockade of West Berlin as it realized that it could not resist the airlift.
Outcome(s): who emerged victorious? What were the consequences/Effects?
In this conflict, the United States, Britain, and France won, which forced the USSR to lift the blockade. However, these incidents had more global consequences as they deepened the separation of Berlin and Germany, and also intensified the confrontation between the USA and the USSR. In addition, in those events, Western countries pushed for the creation of a military alliance of NATO, which has a significant influence on modern politics.
The bird watcher [Cartoon]. Punch. or The London Charivari.
With examples like Mulan 1998 vs. Tom & Jerry, cartoons have created considerable political controversies worldwide. Globalization and technological advancements have impacted on the children’s lives and entertainment (Cantor & Wilson, 2003). Cartoons have been specifically used occasionally for children’s entertainment. Evidently, this has been noted to occur within all social environments.
These include homes, schools, and within entertainment joints (Scibelli, 2010). The application of cartoons for amusements is particularly common amongst the children. There is increased cartoon consumption by children. It is notable that not much attention has been focused on certain implications and impacts (Kirsh, 2006). The question of how the children’s cartoons have become politicized within the present society has specifically not been adequately addressed.
Cartoon programs utilizing violent human characters have specifically been applied widely in the present society (Valkenburg, 2004). Observably, the effects have been widely debated on with different personalities (Gentile, 2003). Contrary to the widely-held view that children’s cartoons are made thoughtlessly and without direction, it is arguable that cartoons are constructed to spread violence. These cartoons represent altered egos, which dictate and imbed violence.
In the Mulan vs. Tom & Jerry 1998, the Huns, guided by pitiless Shan Yu raided the Han of China. This forced the Chinese emperor to command enhanced mobilization. Each family was given an enlistment notice demanding at least a man from each family to join the Chinese army.
It is notable that the issue of politicizing the children’s cartoons has dominated many debates. Through observation of wild human characters as cartoons, the children experience considerable impacts within themselves (Warner, 2004). Observably, most children have grown to be more violent because of this common exposure.
In addition, there has been a generally increased instances of deviant behaviors associated with amplified viewing or consumption of diverse detrimental cartoon programmes. Animated cartoon games involving the application of violent techniques and behaviors have particularly contributed to this notable impact significantly.
This is because in viewing such programs, the children feel agitated to engage in similar behaviors or undertakings (Cantor & Wilson, 2003). Consequently, it is notable that the children take the most cartoon characters depicted to have superior capabilities as their role models. This effect has been widely notable within the present society, increasing the negative impacts and detrimental social impacts within the children’s lives.
In the US, there have been immense debates regarding the application of children cartoons. Imperatively, it can be noted that such debates and public arguments have lead to the emergence of legal intervention (Cohen, 1997). As a result, it can be observed that there are particular cartoon programs that have not been given the opportunity for media airing or public viewing.
The banning of certain cartoon types from the media fraternity within most nations may be due to many factors. However, for the case of most children cartoons, the banning has always been due to their implications on the children’s life. Some have been said to cause violent behaviors amongst the children. There are others with detrimental political implications. In addition, others have been prone to manipulation as well as indirect usage by different interest groups (DeHart, Sroufe & Cooper, 2004).
The impacts of the various types of cartoons on children’s lives require a keen attention and analysis within the present society. Observably, limited research has been conducted within this area. Perhaps, the fact that not so many people provide audience for the cartoon session might be a contributory factor to this eminent pattern. With the increasing globalization and social networking, the children have gained an increased access to these cartoon programs.
Regulating the available cartoon programs within the social media has particularly become difficult due to the effects of modern technology (Nathanson & Cantor, 2000). The reality still remains that most children are exposed to various content within the cartoon programs and are influenced in different ways due to this exposure.
An investigation into these impacts is therefore necessary. Various sentiments concerning the availability, content as well as the notable or probable influences from the children cartoons have been cited. Different institutions, individuals and government agencies have diverse views and concerns about these children cartoon programs.
For instance, there are those groups that potentially encourage the application and availability of the children cartoons. On the other hand, certain individuals or agencies have totally negated the application of these cartoons. Moreover, they have indicated that these cartoons are potentially dangerous, considering their present easy accessibility by children within the society and media (Warner, 2004).
The animate children cartoons have been used by various interest groups to propagate their intrinsic values. This has been specifically about their desires on issues regarding public governance and concerns (Cohen, 1997).
The media has also used the children cartoons to imply or convey comic political messages that normally streamline the general political arena within a country. It is notable that these have always been conveyed in disguise of the children cartoons. The influence of comedic cartoons on the children lives has particularly been of keen interest to many investigators.
The cartoons that are always presented in game forms usually increase the children’s vulnerability to engagement in conflicts and violent acts within the society. Continuous exposure to such comedic cartoons by the children, thus, enhances their probability of getting involved in conflicts with the general societal norms (Nathanson & Cantor, 2000).
Literature review
In 2009, New York Post safeguarded its political cartoon, depicting a police gunning down a chimpanzee. The situation created a massive political controversy when scrutinized critically. MSNBC, which made vivid reports on the paper, argued that the cartoons made a political thrill. Agreeably, the children cartoons have been largely politicized. Apart from this, the cartoons have considerable negative influences on the lives of children.
This assumption is premised on the notable observations within the present globalized community (Olfman, 2006). Most recent investigations within the U.S. have indicated that certain children’s television shows might be detrimental for the young children’s mentality. These studies that have majored on the concern of cartoon and children widely indicate the negative e influences of cartoons on the lives and welfare of the children.
Apart from the violent side of the impacts, other notable impacts of child-cartoon watching have been noted (Kelly, 1999). For instance, some investigations have indicated that the children are not likely to concentrate or focus appropriately. This trend has particularly been observed after the children have engaged in watching most fast-paced programming cartoon material.
Investigators from the Virginia University illustrated the effects of a 60 4-year olds a 9-minute hunk of an “animated kitchen sponge” cartoon (Hamilton, 2000). After this incidence, these investigators consequently examined the young children’s memory as well as their critical thinking skills.
A comparison of these scores to some other children who had been engaged in a slow-paced educative cartoon program was consequently done. This remarkable investigation revealed critical insights into the potential effects of child cartoon viewing. According to this investigation, the pre-school age children who were involved in the watching of the fast-paced cartoon programs performed worse (Kirsh, 2006).
This was specifically observed following the administration of the critical thinking test. Notably, the two other teams who were not engaged in active cartoon program viewing performed better that the watchers of the fast-paced secular cartoon material. Notably, various types of cartoons exist just within the U.S. These different child cartoon types and programmes utilize diverse mechanisms to ensure their target audiences are adequately captured.
For instance, the secret to behind cartoon types such as “Animaniacs” can be noted (Olfman, 2006). The programme has a great appeal for the children with the passion for animated slapstick. Contents within the cartoon programme such as the notable instances of fingering a human being’s anus might not resonate ethically and morally appropriate for the kids.
The engagement of various regulatory authorities in the banning of diverse cartoon programs within the American media has been widely noted. For instance, it is clear that certain specific incidents within the “Pokemen” episodes have not been licensed to appear in the general public media. This is because such episodes have remained considerably seizure-inducing.
Others have also been attributed with excessive violence and with sentiments that appear to be largely racist in nature (Kirsh, 2006). However, it is notable that such regulatory measures have not been particularly intensive. Therefore, they cannot help to prevent the detrimental impacts of the children’s exposure to cartoon material. The exposure of certain pornographic material within the children cartoon programmes has remained a questionable incidence.
This is because in certain cartoon programmes such as the America’s “carpet munching”, the homosexuality theme has widely been espoused (Valkenburg, 2004). This makes analysts to worry and investigate the potential impacts of such media on the general lifestyle of a growing young child.
The impacts of these children cartoons on education have been noted. Most investigators have discovered and indicated that the brain remains overtaxed and tired. This is due to the extreme stimulation the bran encounters from these fast-paced cartoon programs.
Consequently, this effect has been noted to result into poor student performance, resulting into very low grades (Kirsh, 2006). However, whatever such investigations and results signify and mean for the children within long term basis may still not be exactly known and articulated.
Indicatively, most other investigations in the past have discovered an association between intensive television viewing together with the challenges related to the children’s concentration to detail. This has also been noted to grossly interfere with the children’s duration of paying attention or concentration (Kelly, 1999). Instead, it has been noted that under such circumstances, the children develop more or increased rates of aggressiveness and are increasingly more motivated to engage or take part in more violent activities.
According to the American Academy of Pediatrics (AAP), the parents should strive to regulate and limit their children’s overall time of exposure to media (Garralda & Raynaud, 2010). As indicated, the limit should be pushed by these parents to approximately one or two hours programming on a daily basis.
The children with a notable age below a definite two years must not be allowed to access or watch the cartoon programs. There have been critical reiterations from the AAP that although many definite implications and effects of children cartoons might not be readily available and noticed, there is evident of long term challenges.
According to Christakis as well as other potential investigators, when the younger children’s brains that are still under development get bombarded with excessive stimulation, notable impacts are recorded. For instance, the effects can lead to the interference with the younger children’s capacity to learn how to properly and appropriately focus and concentrate on significant issues. Apart from this, the children might also develop to be chaotic and engage in violence due to distorted state of peaceful mind.
The most vital message that people have to consider is that the content to be viewed by the children really matters. According to my personal experiences, I must concur with the sentiments eminent in the observations that have been drawn by these investigators. Indeed, children cartoon programs such as the comedic ones have severe implications on the children.
The use of these cartoons by most interest groups to propagate diverse views within the society has also been notable. This is particularly during the political times or periods within specific nations (Cantor & Wilson, 2003). These effects have been notably pronounced due to many reasons. For instance, the children have developed an increased interest for cartoons over many years.
Consequently, this trend has notably become an elementary activity to certain people and families. This has potentially increased the level and rate of exposures of the children to such detrimental programs. Ideally, the children start viewing cartoons from a considerably tender age. This has been observed to start at six months after birth then extend, with a notable peak of addiction to cartoons at a tender age of two or three years.
For example, in some cartoons, most children are viewing excess television as well as the cartoon programs that are increasingly becoming violent and to a greater extent addictive.
The cartoon promotion or advertisement has potentially gained influence within the United States (Nathanson & Cantor, 2000). Accordingly, the subliminal information and impacts have also considerably grown. Most materials and information conveyed within children cartoons have been considered and viewed not to be fit for the children’s tender ages.
The risks associated with physical challenges such as mental, psychological, emotional as well as eye injuries might develop from the excessive levels of exposure of the children to cartoon materials. An empirical investigation based on the adolescent violence in 2000 conducted by American Surgeon General David Satcher has very critical observations on the issue regarding children and the effects of cartoon watching.
Amongst one of the vital factors that the study elicited was the impacts of frequently viewed entertainment or child cartoon programmes that integrated violence within. The potential dangerous effects of this practice have notably developed into an important public health concern. This is particularly eminent within the American society.
Due to the notable detrimental influences, the American Psychological Association, (APA) approved a resolution in February of 1985 (Kirsh, 2006). Basically, this resolution was meant to enlighten the potential broadcasters as well as the general public about the dangers that cartoons and violence within the overall media imparts on the children. Generally, there are three basic impacts that have been noted or identified by the psychological investigations that are experienced by the children’s exposure to violent cartoons.
Notably, a child may become more insensitive to the pain as well as anguish that the counterparts might face in the daily life circumstances. Ideally, it is also indicated that the younger children who indulge in viewing of the violent cartoon programs never dread engaging in violence. Either, it is also notable that these categories of younger children are never bothered or worried by the act of violence and conflict in overall (Nathanson & Cantor, 2000).
Moreover, the constant practice makes the children to be more likely to develop a considerable level of aggressiveness. They also depict a tendency or character of using detrimental or dangerous actions geared towards their counter parts. In concurrence to this vital observation, an individual notices that the continued exposure to such media content plays a significant role in reverting the children’s psychological mannerisms.
Perhaps, a closer examination of the human mind would reveal appropriate underlying factors that are more likely to increase the vulnerability of the younger children emanating from the exposure to violent comedic cartoons (Olfman, 2006). For instance, it is notable that upon birth, the human being develops the competency for stimulation, familiarity as well as training.
Consequently, due to these observations, the human mind and mental capacity seems to be extremely impressionable. Thus, the general development of the human brain remains as a transformative and flexible combination of nature as well as nurture.
Therefore, all stakeholders have to recognize the significance of choosing an appropriate and healthy environment to all the children. The implication in this observation is very critical and must be considered in order to enhance child welfare within the larger global society. Generally, cartoons that embody violence remain unhealthy particularly for child consumption (Kelly, 1999).
This is because getting interactive with an environment increases the growth of an effective brain as well as competencies. The general observation from these implications is that extensive levels of childhood association with electronic material may minimize the social interactions. Additionally, it is indicative that this might also obstruct the growth of a child’s brain social systems.
Although there have been numerous investigations as well as studies regarding the implications of cartoon exposure to children, there are still notable gaps. Observably, the inability of these investigations to correlate the level of psychological and temporal influences of these exposures to children is not well illustrated.
The impacts of politicizing the children cartoons have also not been effectively addressed in most of the previous investigations (Gentile, 2003). The need to conduct more inclusive and empirical studies on these outlined issues remains largely eminent.
This is particularly with the consideration of various dynamics and influence s that have presently emerged with the increasing rate of globalization as well as technological advancements. The involvement of all stakeholders within such studies and investigations has not been given adequate consideration and priority within the past cases.
However, presently, it is increasingly becoming evident that multiple stakeholder engagement must be given consideration in order to effectively curb the problem. This is because the challenge is a collective issue that affects a majority of individuals and population. Present studies have identified the importance of basic factor analysis in relation to the studies focusing on the impacts of cartoons on the children within any society.
Analysis
Evidently, American politics have been demonstrated by controversial cartoons. Just before Obama became president of US, dubious political cartoons underrated his political quest. For Example, African American cartoonists installed negative dictions against Obama through animated images.
This indicates how these cartoons represent their altered egos, which through such cartoons are dictated and imbed violence. Generally, it is observable that cartoon programs have diverse impacts on the lives of children globally. While most cartoonist and media sources have focused on the advertisement of cartoon materials, there has been limited attention given on their implications. There have been recent complaints registered concerning the effects of these materials on the children (DeHart, Sroufe & Cooper, 2004).
Observably, there seems to be inadequate research as well as investigation based on these implications. Therefore, the need for inclusive studies is eminently appropriate within the present contexts. The disparities between the past studies and present research already noted are important and must be incorporated if effective results and solutions are necessary.
With examples of various politicized cartoons, parents and the general society have started to wonder on the way in which popular cartoon programs have mental as well as social implications and effects on their children (Garralda & Raynaud, 2010).
While no previous studies particularly regarding the impacts of cartoons and other associated programs on children have occurred, different investigations in the past period have elaborated the effects of television. This is particularly in consideration to the mental health as well as the eyes of young children.
The political issues regarding the application and consumption of the cartoon programmes by the children also remains as an important consideration in conducting various research on the topic (Stangor, 2011). Violence has particularly been associated with the children who seldom watch the cartoon programmes.
Such children develop and grow up to be stubborn to the community, a situation that most investigative studies in the past have not adequately addressed. Other notable impacts that have been recorded include seizures, child risks as well as safety concerns. Following the dearth of adequate information and knowledge regarding the consumption of the cartoon material amongst the children, it is critical to observe that there is a need for more advanced and inclusive studies in the subject.
Conclusion
Conclusively, Mulan vs. Tom & Jerry 2008 and others indicate various political controversies depicted by cartoons. Contrary to the widely-held observation that children’s cartoons are made thoughtlessly and without direction, it is arguable that cartoons are constructed to spread violence.
Presently within most children cartoons, one is able to identify the various cartoon characters perform different actions. Notably, there is a lot of jumping, diving ad well as falling. This occurs within various heights. It is notable that most parents are never worried with this situation.
They mostly seem to care about pornographic cartoon material but often avoid or assume the violent implications. However, the present question remains whether these kind of cartoon material are really appropriate for watching by the children.
This defines the objective of the present investigations around the issue or concerns of cartoons and the children welfare. Comedic cartoon programs have particularly been associated with the detrimental impacts to most children viewers. The continued application and penetration of these materials within learning institutions as basic entertainment mechanisms has also elicited significant reactions.
Children have particularly got injuries as a result of trying to imitate what they observe within most cartoon programmes. Psychological implications from the cartoon programmes have potentially influenced the behavior of most children.
References
Cantor, J. & Wilson, J. (2003). Media and violence: Intervention strategies for reducing aggression. Media Psychology. 5, 363-403.
Cohen, F. (1997). Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. Jefferson, NC: McFarland and Company.
DeHart, G. B., Sroufe, L. A., & Cooper, R.G. (2004). Child development: Its nature and course. New York, NY: McGraw Hill.
Garralda, M. E., & Raynaud, J.-P. (2010). Increasing awareness of child and adolescent mental health. Lanham, Md: Jason Aronson.
Gentile, D. A. (2003). Media violence and children: A complete guide for parents and professionals. Westport, Conn. Praeger.
Hamilton, J. (2000). Channeling violence: The economic market for violent television programming. Princeton, N.J: Princeton University Press.
Kelly, P. T. (1999). Television violence: A guide to the literature. Commack, NY: Nova Science Publ.
Kirsh, S. J. (2006). Children, adolescents, and media violence: A critical look at the research. Thousand Oaks, Calif. Sage.
Nathanson, A. I., & Cantor, J. (2000). Reducing the aggression-promoting effects of violent cartoons by increasing the fictional involvement with the victim: A study of active mediation. Journal of Broadcasting and Electronic Media. 44, 125-142.
Olfman, S. (2006). No child left different. Westport, Conn: Praeger Publishers.
A number of civil rights are guaranteed to people across the world by national constitutions. Nevertheless, disputes regarding restrictions and violations of civil liberties are receiving publicity, highlighting the current state of these issues. The right to privacy has become a prominent subject of public debate since the practice of global surveillance was revealed. Tracking, data collection, and data mining are usually justified for the purposes of security. At the same time, these practices create a situation in which an individual cannot feel secure using such private items as phones, e-mails, tablets, and other electronic systems that collect and store data. Moreover, violation of the right to privacy affects freedom of thought, expression, speech, the right to assembly, and other related liberties. The government, private institutions, and individuals can violate the right to privacy.
Although the issue is vital, a lack of awareness may lead to a shift from a negative assessment of transgressions of the right, to the rationalization of infractions and defense of violations as necessary acts. The role of political cartoons cannot be overestimated in emphasizing the problems that face the right to privacy, and increasing public alertness in considering the issue. The importance of caricatures and their influence on political life and public debate has developed from a low genre of illustration to a powerful tool that involves raising questions and social critique. The combination of image and textual content makes political caricatures an effective means of information: “interplay of language and visual rhetoric is the key to the appeal of the cartoon” (Bramlett 63). Political cartoons, through illustrations and text, communicate a message to the reader, alluding to significant issues in both metaphorical and explicit ways.
Political caricatures test how we perceive official information. They can manipulate readers’ sympathy and incline the audience to a negative or a positive assessment of the issue. The totality of a cartoon is created through the powerful means of image, colors, words, metaphors, and allusions. Political caricatures may be up to date, and refer to recent events. At the same time, some issues reflected in cartoons are not going away, in terms of public discourse (Navasky). The clarity of the cartoon language enhances the comprehension of disputes on the pages of newspapers, magazines, and online resources. In many cases, astute cartoons are stimuli for reading the editorials. Thus, the audience can not only be informed about the issue, but also is able to generate opinions about the question under discussion. The symbolism within political cartoons includes inherent, or rigid, and learned, or flexible, symbols. Politics is a field of signs and symbolic actions. Cartoonists interpret the processes, relations, and trends in the policy and create a condensed representation of a situation. However, readers should understand that political cartoons are not the ultimate truth, as “caricature distorts the original and it uses humor to reveal the shortcomings of, and occasionally to humiliate, its subject” (xviii).
This cartoon was published in The New Yorker on September 26, 2016. It depicts a person going through a security checkpoint. Several officers are in front of the individual. The simple pencil illustration is accompanied by the following words: “For your comfort, you will be searched by someone of your own level of sexiness.” This cartoon has two levels of comprehension. The first level refers to pictorial information and implies the current situation regarding security measures. All of an individual’s belongings, including shoes, are controlled. The justification, safety, does not leave room for privacy. The second level of the cartoon combines textual and illustrative parts. Thus, the caricature as a whole considers the condition of violating the right to privacy and discrimination at the same time. The cartoon reflects the viewer’s personal perception of the situation, as well. The experience of going through a security checkpoint is varied, and depends on gender, nationality, social status, passport type, and outfit.
This cartoon, created by Joel Pett, was published in the Lexington Herald-Leader on September 25, 2016. The caricature shows the presidential debate between Hillary Clinton and Donald Trump. The host of the debate lists important issues (privacy among them, as well) which need to be discussed. However, instead of starting the discussion, the final remark of the host is, “Any other topics we should ignore?” The textual content of this cartoon is more incisive than the illustration. This political caricature was the anticipation of the face-to-face encounter between the presidential candidates on September 26, 2016. The 90-minute interaction went without advertising breaks and was publicized nationwide as a must-watch event. The great fuss about the debate, its preparation, and how candidates might reply to each other’s remarks has tended to turn attention away from crucial points. Joel Pett’s work alludes to the perfunctory nature of the event.
The following political cartoon was published in Der Standard, an Austrian newspaper, on March 29, 2016. The caricature refers to a nutcracker, and provides the idea of how governmental institutions exploit private enterprises to bypass the right to privacy. The cartoon illustrates an iPhonecracker with a phone inside his mouth, about to break it. The iPhonecracker resembles a nutcracker; however, he is wearing an FBI uniform. The caricature speculates about state control of privacy through technology and business. The notion of cooperation between corporations and the government is not challenged in this illustration, though.
Another Joel Patt cartoon, published in the Lexington Herald-Leader on March 4, 2016, depicts the issue of collaboration between business enterprises and the state from the perspective of a customer. The caricature depicts a client who is asking a service worker about the privacy breach. The accompanying line accommodates the picture: “So, Mr. Genius… Who should I fear the most… The feds, tech giants, or terrorists?” The level of confusion among ordinary technology users is presented in this illustration. The introduction of new gadgets or technology to the market generates rumors and hypotheses about privacy gaps, leaking of personal information, data collection, and the threat to civil freedoms. Moreover, this caricature refers to danger from terrorists, who use technology for their purposes. Such speculations highly circulated in media disorient people, forcing them to be afraid of almost everything.
Jim Moring’s “Donald Trump backs stop and frisk policy” cartoon was published in the Miami Herald on September 25, 2016. This illustration is linked to the Monday night debate on September 26, and mocks Trump’s standpoint. The caricature depicts a man of color who is stopped and searched by the police. The Donald Trump character, an advocate of New York City’s stop-and-frisk policy, declares, “Like I said… What do you have to lose?” The other man answers, “… my freedom?” While Mr. Trump saw the correlation between the cancellation of the policy and an increase in crime, a real distrust toward the NYPD, especially among citizens of minority ethnic groups, is prevalent.
Moreover, the exchange of remarks between the man being searched and the presidential candidate indicates the valuation of freedom. The man is clinging to his civil rights, which are valued by him as an essential part of his life. The Trump character views civil liberties as an optional element that can be violated or reduced. The coloration of the cartoon deserves particular attention. The man is shoved by a policeman against a dark-painted wall, while the Trump character is on the bright side of the picture, wearing a black suit and red tie. The combination of intense, clear colors and shadowed tones symbolizes who is in a position of power.
The mixture of pictorial and textual information generates simplicity and depth in political cartoons. This compressed form of analysis and critique of political and social life includes symbols, metaphors, references to previous events and common knowledge, and allusions to cultural traits, practices, and traditions. Political caricatures provide the audience with a sharp reaction on an issue. Though taunting particular characters and situations, cartoons do not impose their presented view as an ultimate truth. The format of political caricatures invites the readers to assess current official and civil agendas from a critical standpoint. As a manifestation of such liberties as freedom of thought and expression, political cartoons are crucial in raising questions and opening public debate about civil rights. The analyzed caricatures illustrate quick reactions to a recent event (the first presidential debate) and a fresh view of the issue of privacy and its violations.
References
Bramlett, Frank, ed. Linguistics and the Study of Comics. London: Springer, 2012. Print.
Navasky, Victor S. The Art of Controversy: Political Cartoons and Their Enduring Power. New York: Knopf Doubleday Publishing Group, 2013. Print.
Political cartoons are generally regarded as a hypertrophied imagination of the political or social reality of the particular time epoch. The image that is selected for the analysis is from the pre-1856 epoch of US history, and it represents the imagination of the political and social life as it was imagined by artists. The cartoon that was selected for the analysis is Yankee volunteers marching into Dixie. This is regarded as a music cover 1862 year dated. This is a patriotic, and a bit sarcastic depiction of the Union forces.
Washington City: Published by C.F. Morse; Boston G.A. Morse c 1862. Creator(s): J.H. Bufford’s Lithographic Establishment, lithographer. Related Names: Bufford, John Henry, 1810-1870. Morse, C. F.
Analysis
The general description of the picture presupposes that the Union forces are marching for opening the Civil War. The troop marches forward, and their dressings are characterized as the Yankee character Brother Jonathan (Brody, 106). The background of the poster depicts the skyline with capitol building. The interpretation of this painting is associated with the events before the civil war and is based on the fact that the Union forces were regarded as the only hope of the democratic development of the further American society.
Because political cartoons were based on the subjective perception of reality, it should be emphasized that the actual importance of the interpretation is associated with the necessity to explain the origins of the artist’s wish to attract attention to the fact of the civil war beginning. By the research by Lent (156), the following statement should be emphasized:
Political prints and satires have, quite appropriately, long been collecting interest for the congressional library. A particularly large group of such works from the late eighteenth century relates to the Revolutionary War period, including historical prints, satires, and allegories by American artists such as Paul Revere and Amos Doolittle, as well as British publishers from across the political spectrum.
In the light of this statement, the historical context of the analyzed poster is mainly associated with the necessity to analyze the sequence of the historic events, as well as the social background and moods of the people and soldiers. Because the poster depicts the very beginning of the Civil War, both sides of the conflict are highly inspired.
The interpretation accuracy may be doubted because the actual importance of the picture was to inspire the audience, and soldiers marching in white top hats look a bit strange. On the other hand, the colors of the US flag were regarded as a patriotic inspiration for everyone who should watch this poster. Therefore, the artist chose to draw the troops in national colors.
From the theoretic perspective of political satire and cartoons, it should be stated that the picture itself was aimed at increasing the level of self-consciousness and patriotism. In the light of this fact, the statement by Winfield and Yoon (234) emphasizes the importance of the political background and the necessity in such cartoons:
As the controversy grew in the United States over the proper form to be given the new government, cartoons and satires became an increasingly vital and ubiquitous component of the national public discourse in the formative years of the young republic. Two of the finest graphic satirists from this period, James Akin and William Charles, are well represented at the Library. For example, a rare impression of Akin’s virulent attack on President Thomas Jefferson for conducting secret negotiations with Spain toward the purchase of West Florida is significant not only as an early presidential satire but also as the earliest-known signed satire by Akin.
Hence, the United States army had to be depicted as a heroic and powerful force. Even though the national forces could not look like this, the authors managed to create the cartoon with a high level of inspiration, and create the necessary mood for motivating people.
The only reason why authors preferred to choose this type of interpretation may be explained by the fact that social advertisement was not developed highly. The national colors were regarded as the only inspirational hook possible for a political cartoon. These colors could be used either as for inspiration or for political sarcasm, however, while the warriors of the Union troops are depicted as dignified people, there is no space for sarcasm
The impact that it might have on the people is linked either with the pride for the dignity of the national troops, or with the irritation and anger of those who were on the opposite side of the barricades. Anyway, the authors reached their goal.
Conclusion
The cartoon analyzed may be regarded from several points, however, the main idea of the image is linked with the inspiration of the target audience. Hence, the interpretation of the cartoon from the perspective of inspiration and motivation may be regarded as the most accurate.
Works Cited
Brody, David and Henretta, James. America: A Concise History: Vol. 1, To 1877. 4th edition. New York. 2010.
Lent, John. Animation, Caricature, and Gag and Political Cartoons in the United States. Westport, CT: Greenwood Press, 2004.
Winfield, Betty H., and Doyle Yoon. “Historical Images at a Glance: American Editorial Cartoons.” Newspaper Research Journal 23.4 (2002): 97.
Explanation: The cartoon depicts Hugo Chavez rolling on top of an oil barrel, escaping an angry mob of Venezuelan citizens. Chavez is infamous for taking money that would benefit his fellow citizens and channeling it towards projects that promote his own political agendas. Therefore, the cartoonist is very practical as the drawing and sketches utilize all the necessary features in relaying the intended message to the society. Features in the portrait Hugo Chaves such as oil barrel and an angry mob, help the readers to decipher corruption. According to Kange, corruption is a factor that is affecting many developing countries and has hampered their development and progress (14). The cartoon also acts as a warning to leaders who engage in corrupt practices since they can face the wrath of current citizens who are more enlightened than the preceding generations.
Hugo Chavez rolling on top of an oil barrel.
Western Europe
Area: The United States
Cartoonist: Glenn McCoy
Explanation: The cartoonist uses the cartoon of an individual explaining the challenges that people can experience when they engage in global warming activities. The activities, which relate to global warming, create harm in the world in terms of increasing the average temperature of the world. According to Brooks (162), it is imperative that people try to save the world from the effects of global warming. From the cartoon, a picture develops in the minds of readers that global warming is a global challenge. The implication of a cartoon that develops in the minds of readers is an amplified attempt to minimize activities that increase the world’s vulnerability to global warming. The message conveyed by the cartoons also encourages people to engage in operations that reduce the negative effects that global warming has on the sustainability and long life of the planet.
Glenn McCoy.
Japan
Location of Japan
Cartoonist: Bill Schorr
The main message that the cartoon brings to the fore includes the disasters that are impending in Japan. The cartoonist uses the drawing to express the future of the world and the consequences that came along with global warming. According to the cartoonists, many individuals engage in careless behavior that does a lot of harm to the earth and reduces its ability to sustain and accommodate future generations. Some of these behaviors include pollution, nuclear tests, and the use of agrochemicals. Bolen and Robison argue that global warming is a critical issue that can result in wildfires, unprecedented changes in weather patterns, earthquakes, hurricanes, and tornados (161). The cartoon depicts some of the consequences that global warming occasion, which includes earthquake and tsunami.
Bill Schorr.
China and Sub-Sahara Africa
Area: Sub-Sahara Africa
Cartoonist: Adenle Adewale
Explanation: This is one of a series of cartoons published in 1996 demonstrating the frustration of the Nigerian people. The cartoon shows a Nigerian citizen, nailed down by an oppressive General Sanai Abacha and his regime, literally starving for democracy. The cartoon sends a number of messages to the society that concern corruption, misuses of resources, and democracy. According to cartoonists, many individuals in developing countries are starving for democracy. Corruption is a prevalent vice in many developing countries, as most of their leaders have greed for power and money (Steinberg 11). From the cartoon and sketches, it is clear that leaders of these nations prevented their citizens from gaining get the much-needed democracy but instead remain nailed as slaves of the country.
Adenle Adewale.
The Middle East and North Africa
Location: Afghanistan
Cartoonist: John Cox and Allen Forkum
Explanation: In the cartoon, the cartoonist uses the cartoon of Iran leader Mahmoud Ahmadinejad to create awareness in the minds of people living in nations and states to explain the importance of curbing nuclear proliferation and its negative impacts. The cartoonist uses a sketch that shows the president of Iran, expressing his need to destroy countries such as the United States and Israel using nuclear weapons. In the cartoonists’ assertion, weapons of mass destruction aimed at destroying Israelites and Americans. Dobson (45) argues that the unchecked use of nuclear energy can proliferate the manufacturing and the use of nuclear weapons. Thus, the use of the cartoon is very instrumental in presenting the impact of nuclear weapons on global security.
John Cox and Allen Forkum.
India
Area: India
Cartoonist: Satish Acharya
Explanation: The cartoon depicts that citizens of India have been through the regimes that tolerate injustices. Corrupt practices have dominated the Indian regimes, which have contributed to systemic impunity in the judiciary. As the current regime wants to free known killers of a political leader, it elicits uproar in India. From the cartoon, it is evident that decades have passed while citizens are still expecting justice, although past regimes denied them. While a man is looking for justice for his father, another is seeking justice for the 1980s events, and some are seeking justice for recent events. This implies that the regimes in India have continued to perpetuate injustices against their citizens by delaying and denying them justice. In essence, the demonstration that is evident in the cartoon depicts hungry protesters who are determined to achieve their respective justice, no matter the delays or denials that they encounter.
Satish Acharya.
Eastern Europe and Russia
Location: Russia
Cartoonist: Mark Roberts
Explanation: The cartoons here comprise of some individuals who are discussing issues regarding nuclear testing. Through the cartoons, a picture develops in the minds of readers concerning the divergent perspectives held by individuals on aspects that regard nuclear weapons. The cartoonist employs complex political concepts to make the discussion among the cartoons interesting and creative. With the use of terms such as the jellyfish, vertebrates, and global fish stock, the cartoonist conveys the intended message. According to Cirincione, the presence of nuclear weapons in the world is a threat to humanity because they have the potential of causing massive destruction (10). Therefore, the cartoonist is conveying a very crucial message to the society concerning the use of nuclear weapons.
Mark Roberts.
Philippines
Location: Philippines
Cartoonist: Pat Bagley
Explanation: Since the Philippines frequently experience natural disasters such as typhoons, hurricanes, and floods, the cartoonist in depicting the experience that people undergo. In the cartoon, there is a young family made of father, mother, and a child who are conversing about the experience of the disaster that hit them. The disaster has destroyed their house, and they are seated outside, wondering what next about their lives. The family is in a desolate and hopeless state because the disaster has destroyed their property and thus makes them homeless and poor. Typhoon Haiyan rocked the Philippines late last year and left thousands of people under dilapidated conditions that require humanitarian aid to improve their lives and survive.
Pat Bagley.
Southeast Asia
Location: China
Cartoonist: Willa Chen
Explanation: The sketch is an illustration of a processing plant in China that manufactures certain products. From the sketch, it is clear that the plant emits high amounts of smoke that are harmful to the environment. Therefore, using the sketch, the cartoonist sends a message to the readers that pollution is harmful to society as it destroys the environment. Harrison argues that pollution occurs when individuals introduce harmful substances in a given environment (47). In the sketch, the smoke is black in color and is voluminous, which implies that the amount of harm that it has on the environment is very high and pronounced. The use of a small processing plant demonstrates the pollution magnitude of big processing plants. In addition, the sketch brings to the fore the pollution effects that processing plants have on the environment, water, soil, and air.
Willa Chen.
Africa
Location: Africa
Source: My drawing
Cartoonist: Me
My drawing.
Explanation: The cartoons depict Alshaabab, which is a terror group linked to Al-Qaeda terrorists fighting against the United States Army in Somalia. In the cartoon, Alshaabab is running away from Somalia into safe countries such as Kenya and Tanzania. As the United States and the United Nations started to invade Somalia, terrorists escaped and hid in other African countries. Thus, the cartoonist explains that although the United States and the United Nations’ Army invaded Somalia and dealt with the terrorists, they did not destroy all of them because some escaped and hid in some African Countries.. Therefore, the cartoon conveys a message to the society that terrorism is a global crisis and that all the individuals in the world have the responsibility of preventing the crisis (Phillips 25). The use of simple features enables readers to decipher the complexity of the issue of terrorism and Alshaabab globally.
Works Cited
Bolen, Eric and William Robison. Wildlife Ecology and Management. New Jersey: Prentice Hall/Pearson Education, 2003. Print.
Brooks, Charles. Best Editorial Cartoons of the Year: 2009 Edition. New Orleans: Pelican publishers, 2008. Print.
Cirincione, Joseph. Bomb Scare: The History and Future of Nuclear Weapons. Columbia: Columbia University Press , 2013. Print.
Dobson, Hugo. Japan and the G7/8: 1975-2002. New York: Routledge, 2004.Print.
Harrison, Roy. Pollution: Causes, Effects and Control. London: Royal Society of Chemistry, 2001. Print.
Kange, Augustine. Governance Challenges and Opportunities: A Qualitative Exploration of Leadership in Cameroon. Michigan: ProQuest, 2006. Print.
Phillips, Douglas. America’s Role in Changing the World. New York: Infobase Publishing, 2010. Print.
Steinberg, Paul. Environmental Leadership in Developing Countries: Transnational Relations and Biodiversity Policy in Costa Rica and Bolivia. New York: MIT Press, 2003. Print.
A political cartoon is an essential source for analyzing historical events, political agendas, and people’s (or, more precisely, authors’) perceptions and critiques of them. One of the periods rich in political cartoons, which provide a fruitful source of analysis, is the period of the 1890s in the United States. It is the era of American imperialism when the idea of white Western supremacy was fundamental in America’s expansionists’ agenda (Offenburger, 2018). While the principal ends of the expansion were the development and strengthening of the country, the means deserve serious criticism. This paper aims to analyze the cartoon “School Begins” (1899) in terms of its content, the critique of the US policy, and place this cartoon in a broader historical context.
Characters, symbols, and actions the artist employs
There are four main types of characters depicted in the cartoon. First, there is the central character, Uncle Sam, the teacher and the representative of then America (the late 1890s). Second, there are new countries that just fell under US jurisdiction: the Philippines, Hawaii, Porto Rico, and Cuba. Then, we can see some states of the US: Alaska, Texas, California, New Mexico, and Arizona. These are the states which have been joined to the US some decades earlier. Finally, one can see children of the native population and black people.
From the cartoon itself and the bottom line, one can gather that this is a critique of the New American Imperialism. The process of teaching itself refers to the idea of expansionists’ superiority over new territories and the lack of interest in the institutions and cultures of indigenous people. As Barnes and Bowles (2014) argue, expansionists “…viewed the darker-skinned inhabitants … as racially and intellectually inferior to Whites” (p. 48). To highlight this imposed ideology, the author uses symbolism: the process of ‘schooling’ stands for a broader concept of American colonialism.
Another author’s technique of criticizing the New imperialism is an exaggeration. Uncle Sam, representing the US, is ostentatiously big and masculine. The ‘newcomers’ (Cuba, Hawaii, Porto Rico, and the Philippines) are depicted as dull, ignorant, and inferior, and the new states look markedly neat and cultured. As for the natives and black people, these characters seem to have no chance to become educated. They are deliberately left out of the schooling process, and one native person, who tries to catch up with ‘civilization’ cannot even hold a book properly.
Historical context
The historical context of the cartoon is the American imperialism of the 1890s. The cartoon was written in 1899 when the states of Arizona, California, New Mexico, and Texas had already formed after the US had taken those lands from Mexico. Alaska, too, became a part of the US after Russia had sold it to the US in 1867. In 1898, as a result of the Spanish-American war, Spain gave up its Caribbean colonies and strategically important Philippines.
The importance of the new territories for imperialist America in the late 19th century was to exploit resources and strengthen America’s power. As Merriam (1978) states, “Expansionists defended their policy with a variety of arguments, including the desirability of new markets…and the hope of extending republican institutions throughout the world” (p. 370). This policy involved an ideology of superiority, which made the exploitation of the territories acceptable and exacerbated racial tensions in the US.
Conclusion
The political cartoons were a powerful technique of the US political agenda and actions criticism. The cartoon “School begins” depicts the general idea of the white US supremacy over the indigenous people of the colonized territories. An essential point in this cartoon is that the indigenous people of the US and black people are left out of the ‘schooling process’. This depiction represents the political agenda of that time, which did not include involving them in political and cultural life at all.
References
Barnes, L., & Bowles, M. (2014). The American story: Perspectives and encounters from 1877 [eBook edition]. Bridgepoint Education. Web.
Merriam, A. H. (1978). Racism in the expansionist controversy of 1898-1900. Phylon (1960-), 39(4), 369-380.
Offenburger, A. (2018). Populism and imperialism: Politics, culture, and foreign policy in the American West, 1890-1900. The Annals of Iowa, 77(4), 431-433.
