Political cartoons what is

We have provided an explanation of the persuasive techniques with each cartoon to help out. If you would like to download a cartoon analysis form it can be used to analyze other cartoons available through American Memory or in print and web media today. Eastern Illinois University is authorized to operate as a postsecondary educational institution by the Illinois Board of Higher Education. Eastern Illinois University. Recent Searches. Trending Searches menu. Academic calendar.

Web Results. Why political cartoons are important Political cartoons are an integral component in the framework of political journalism. It does all the things in one drawing that a newspaper does throughout all of its pages. Follow the links above to view the entries and cast your vote. The winners will be announced on the 3rd of December. Would you like to advance your career or appoint someone? What do I not understand about the source? Analyze the Source How does the creator of the source convey information and make his or her point?

How is the world descibed in the source different from my world? How might others at the time have reacted to this source? Evaluate the Source How does this source compare to other primary sources? How does this source compare to secondary source accounts? What do I believe and disbelieve from this source? What do I still not know — and where can I find that information? Evaluate the Source What do I believe and disbelieve from this source? How does this source compare to other primary sources?

Analyzing Political Cartoons. Political cartoons: Pictures with a point A political cartoon is a cartoon that makes a point about a political issue or event. Persuasive techniques Symbolism Cartoonists use simple objects, or symbols, to stand for larger concepts or ideas. Exaggeration Sometimes cartoonists overdo, or exaggerate, the physical characteristics of people or things in order to make a point.

Labeling Cartoonists often label objects or people to make it clear exactly what they stand for. Still, even an obit cartoon can make an impact if it is drawn well enough and if it is fueled by a powerful idea. One of the most memorable is Bill Mauldin's drawing of a bowed statue of Lincoln after the assassination of President John Kennedy. Editorial cartoonists today tend to be politically liberal. The late Jeff MacNelly of the Chicago Tribune, who won his first Pulitzer Prize in his early twenties, was unique in that he seemed to be as interested in amusing his readers as in influencing them.

Several editorial cartoonists have launched syndicated comic strips to give themselves yet another creative outlet. Editorial-cartoon drawing styles generally fall into one of three schools: the ashcan school, the crosshatch school, and the built-in-texture school. This style evolved in newspapers around the time of World War I, when it was used mostly by liberal or radical cartoonists concerned with poverty, among other problems. Their cartoons would often include an ash can to signify a slum area, giving rise to the school's common name.

Daniel Fitzpatrick — , for many years with the St. Louis Post-Dispatch, was an early practitioner of this style; his bold, stark drawings spawned many imitators.

Herblock of the Washington Post belongs to this school, as does Mauldin. The crosshatch school, characterized by many fine crisscross lines drawn to impart roundness to figures and props, originated with Thomas Nast and Homer Davenport, who followed him. Davenport — worked mostly for the newspapers of William Randolph Hearst.

Many midwestern cartoonists, including John T. The crosshatch style fell from favor for a time, but it was revived by David Levine, the caricaturist for the New York Review of Books, and his many imitators. The built-in-texture school attracted the nation's newer editorial cartoonists, led by Pat Oliphant and Jeff MacNelly.

In this style, cartoons are drawn on paper with a shading pattern that is brought out through use of a brushed-on chemical solution.