Analysing political cartoons - National Museum of Australia

Developing skills to analyse political cartoonsDuring 2008 theNational Museumof Australia willagain run its annualpolitical cartooningcompetition.It is open to allprimary andsecondary students.You do not have to bea good artist to enterit — the key thing isto be able to get aclever idea across ina visual way.Here are the winningentries for 2007:SECONDARYLemming07Ann Plummer, Year 12, Dickson College, ACTPRIMARY11 years still going wrongHarry Dalton, Year 5, Campbell Primary School, ACTThis unit will helpyou think about whatcartoonists do, andto gather examplesof their approachesduring 2008.You will be able touse this informationand understandingto create your owncartoon to enter inthe 2008 NationalMuseum of Australiacompetition. Checkout the Museum’swebsite ,and the last pageof this unit for moredetails.Christmas at the DinejadsHannah Bull, Year 11, Lake Tuggeranong College, ACTKath and KimJeff Evans, Year 12, Dickson College, ACTOPEC in AustriaAaron Stephen, Marist College Junior School, ACTWhat heart problem?Tiahne Douglas, Year 6, Mount Carmel Central School, Yass, NSW© 2008 National Museum of Australiaand Ryebuck Media Pty Ltd1

To understand this we need to look at how cartoonistswork.We can do this by identifying a number of key elementsthat exist in good political cartoons, and seeingexamples of them from the National Museum ofAustralia’s 2007 display of Australia’s most popularpolitical cartoons.Here is a list of key features. On the following pagesyou can see illustrations or examples of how each isused in political cartoons.Key elements of a political cartoonA good political cartoon gets across its creator’smessage through a ‘jolt’ of recognition or identifi cation oragreement. The creation of this ‘jolt’ usually involves …The effectiveuse ofcaricatureMost political cartoons involve caricature — a deliberate distortion and unfl attering emphasis on a person’s physicalappearance. This helps give the cartoon its humour — we laugh at the cartoon before we even look at what it is saying.The focus on a familiar andreadily identifi able subjectThe subject of a political cartoon is nearly always a person, event, issue or idea that is inthe news. We recognise what the cartoon is about without having to study it too closely.A clear targetThere is a clear target. The target is going to squirm because of the way the person, idea,issue or situation is presented. So a cartoon is usually critical, and at times even cruel.An effective styleThe style may vary greatly, from the simplest line drawings that present only the barestessentials, to elaborately drawn pictures that contain a wealth of detail. Cartoonsusually only include as much as is needed to make the point clearly.The use of symbolismor visual metaphorAn identifi able contextCartoons use symbols and metaphors. These are ways of expressing the general through theparticular. For example, a dove is a symbol of peace; a weapon may be a metaphor for confl ict.Viewers need to recognise the setting of the cartoon in order to make sense of it.Usually this involves a current situation, but it may also involve a culturally recognisableelement from the past — for example most viewers would recognise a cartoon using thefi gure of Jesus, and realise that the cartoon was about a religious situation.The use of stereotypingAppropriate but usuallyminimal captioningCartoons often rely on stereotypes and exaggeration both for their humour, and also to makea point clearly. Over-simplifi cation is often a major element in getting a message across.Words and written explanations are often used to make the meaning clear and explicit.A variety ofpossible tonesCartoons may be: humorous, ironic, gentle, savage, bitter, wistful, nostalgic, wry, or contain many other possibilities.All the above elements are used for one purpose:to convey the cartoonist’s message and ideas toviewers in an effective way.Let’s see how we can identify these features inthe National Museum of Australia’s 2007 cartooncollection, which can be seen in more detail athttp://www.nma.gov.au/exhibitions/behind_the_lines_2007_the_years_best_cartoons/.Note that in the following pages we have usuallynot identifi ed the individuals in the cartoons, ortheir specifi c context. In most cases we want you toconcentrate on what the cartoonists are doing, and howthey are doing it, rather than focusing on the individualsinvolved. However, you can see the context of thecartoons on the Museum’s website address.2 © 2008 National Museum of Australiaand Ryebuck Media Pty Ltd

CaricatureHere are examples of the way the new Prime Minister, Kevin Rudd,has been portrayed in the collection.Compare these examples, thinking about such questions as:What do they all emphasise?Are they trying to be realistic?Are they trying to be funny?Are they trying to be kind or cruel?Are they all recognisable?Is that important?Which do you think is thebest caricature? Why?APEC fruit,Peter Lewis, Newcastle HeraldSeptember 2007The dawn sermon,Bill Leak, The AustralianApril 2007What would you now say thata caricature does? Discuss your ideas.Oh, sugar,Andrew Dyson, The Age2007Me2,Mark Knight, Herald Sun2007Burke’s backyard,Eric Löbbecke, The Australian2007The poll dancers,David Rowe,Australia Financial Review 2007Ta r getResurrection,Warren Brown, Daily Telegraph2007During the election campaign of 2007 the formerMidnight Oil singer Peter Garrett, once a strongenvironmental campaigner, was Shadow EnvironmentMinister for the Australian Labor Party. He wascriticised in the press for seeming to have abandonedmany of those beliefs that he once strongly supported.I make no apology,Ron Tandberg, The Age21 August 2007ALP Garrett, Peter MacMullin, The Advertiser 2007 In politics no one can hear you scream, Bill Leak, The Australian, 2007In the next life you come backas each other,Patrick Cook, The Bulletin 2007Blasphemer!,Ian Sharpe, Canberra Times28 January 2007Look at these threecritical cartoons.How is Peter Garrettthe target of thecartoonists?The comb-over, David Pope, Northern Rivers Echo, 21 December 2006© 2008 National Museum of Australiaand Ryebuck Media Pty Ltd3

Subject and styleThe subject of a cartoon is usually easily identifi able.However, the message is not always the same. Here arefour cartoons that deal with the same subject — thenews that the Australian Government would intervene inIndigenous communities where there were huge socialproblems. But the four are really very different.Compare the subject and style of the four, and thefi nal message each presents on this subject.Which of these cartoons do you think is the mosteffective? Explain your reasons.Dream time nightmare time, Michael Atchison, Adelaide Advertiser 26 June 2007The details’ll be along later, Geoff Pryor, Canberra Times 27 April 2007A basis for scepticism, Matt Golding, The Age 26 July 2007Symbolism or visual metaphorSymbolism is where an object is used torepresent something else. A visual metaphoris where an aspect of the cartoon makes apoint. In this cartoon, the cartoonist is usingsymbolism and visual metaphor to criticise thethen Prime Minister John Howard’s supposedpolicy of spending big to advertise his‘green’ policies, while really failing to createeffective policies about climate change.In this cartoon, what does the crown andthrone symbolise?What is the visual metaphor of the wave?Are they effective metaphors? Explainyour reasons.Hope 2000k, Peter Nicholson, The Australian 26 May 20074© 2008 National Museum of Australiaand Ryebuck Media Pty LtdI’m no Johhny-come-lately, Sean Leahy, Courier-Mail 30 May 2007

ContextThe impact of this cartoon depends on the viewer knowingthe context — who the person is, why he has wings, andwhy the glass has been broken by stones. In 2007 Laborleader Kevin Rudd was dubbed ‘Saint Kevin’ by somecommentators, because he seemed to be ‘squeaky clean’and religious. It was then revealed that he had spentsome time one evening in a New York strip club.Using this knowledge of the context, what is themessage of this cartoon?StereotypingLook at the left-hand frameof the image opposite.It relies on stereotyping.What does the clothing,chains and context suggestis happening with PrimeMinister Howard?If you only saw this part ofthe cartoon, what would yousay was its message?What is the stereotype thatis being used?Now look at the full image.What is the real message ofthe cartoon?How has the stereotype inthe left-hand panel beenused to create a state ofmind that makes the humourand the fi nal message of thecartoon come through?CaptioningMost cartoons have a caption. Thecaption is usually brief, and helpsto make the point of the cartoon.Sometimes captioning is neededwithin the cartoon for the messageto be clear. In this cartoon the thenleader Prime Minister Howard andPresident Bush are in trouble.Look at this cartoon. What isthe message of the cartoonif the caption ‘Iraq’ is notincluded? What does itmean if the caption is used?St Kevin, Simon Letch, Sydney Morning Herald 6 March 2007Brown warrior, John Spooner, The Age 2007I thought you brought the parachutes! Alan Moir, Sydney Morning Herald 2007© 2008 National Museum of Australiaand Ryebuck Media Pty Ltd5

ToneThe tone of a cartoon depends on its subject, and its style.What would you say was the tone of each of thesecartoons?What are the elements of the cartoon that create orresult in that tone?It’s not about the oil, Chris Kelly, Green Left Weekly 18 July 2007 Brendan Nelson, Ward O’Neill, Australian Financial Review 11 August 2007Strictly off the record, Matt Golding, Sunday Age 19 August 2007 Humble pie, Stuart Krygsman, The Australian 4 May 20076 © 2008 National Museum of Australiaand Ryebuck Media Pty Ltd

Drawing it togetherNow look at this cartoon, and put together all theaspects you have been considering to analyse thiscartoon about the result of the 2007 election.To do this you fi rst need to answer thesequestions:Who is each fi gure?What is each doing?Why is one fi gure wearing a tracksuit?What is the car?TargetStereotypingSubjectStyleWhat is the pole?What is on the poleWhy has the car crashed?Who was the driver?Why is one fi gure running away?Now identify each of these aspects or featuresin the cartoon, and explain how each iscontributing to create the overall result. If youneed help, look at the bottom of the page.Symbolism/Visual metaphorCaptioningContextTonePeter, it’s all yours, Mark Knight, Herald Sun 26 November 2007What is the fi nal message of the cartoon?Is this a good cartoon? Explain your reasons.Once you have analysed a cartoon you can start thinkingabout whether it is a fair and accurate representationor presentation of an issue. For example on page 6,with the Aboriginal intervention cartoons, looking at thecartoon leads you to ask other questions, such as:What information would you need to decide if thecartoons were fair and accurate?What other solutions might exist to addressingproblems in these communities?So cartoons can be excellent starting points to explorethemes and issues in Australian society.In the 2007 election the Liberal-National coalitiongovernment of Prime Minister John Howard wasdefeated by the Australian Labour Party led byKevin Rudd. Prime Minister Howard lost his seat.The deputy leader, Treasurer Peter Costello,surpringly refused to become the new leaderof the Liberal Party in Opposition.© 2008 National Museum of Australiaand Ryebuck Media Pty Ltd7

Entering the National Museum of AustraliaNow that you have a method for analysing political cartoons you canuse this to investigate a cartoonist, or the way cartoonists depict issuesthroughout the year. And you should also take the Prime Minister’s advice:Make sure youenter the NMApolitical cartooncompetition!How to draw Kevin Rudd, Bill Leak, Weekend Australian 22-23 December 2007Resources on analysing political cartoons‘A licence to mock’ in STUDIES 3/2007 available atBehind the Lines. The Year’s Best Cartoons, National Museum of Australia, 2007:Behind the Lines. The Year’s Best Cartoons, National Museum of Australia, 2006:‘Using cartoons to investigate social and environmental issues’, Dr. Grant Kleeman, Ethos September 2006(Social Education Victoria)‘Behind the Lines — Investigating political cartoons’ in STUDIES 1/2004 available atAustralia Day 2004 — Cartoon perspective interactive at and scroll down.‘Behind the Lines: Exploring Political Cartoons from 2003’ which can be found at:Laughing with Knives: Exploring Political Cartoons. National Museum of Australia, 2003:Hired Assassins, Political Cartooning in Australia. Film Australia, 2003: www.fi lmaustralia.com.au and LibbyTudball, Hired Assassins Study Guide. Australian Teachers of Media, 2003:Michael Hogan, Perspective, ABC, 4 July 2003Haydon Manning and Robert Phiddian, ‘In defence of the cartoonists’ licence to mock’, Australian Review ofPublic Affairs, December 2004, vol. 5, no.1, p 41,You can see an interactive interview with cartoonist Geoff Pryor at:Cartoonist Michael Leunig refl ects on the life of a cartoonist:A collection of Nicholson cartoons is at:8© 2008 National Museum of Australiaand Ryebuck Media Pty Ltd

Make sure youenter the NMApolitical cartooncompetition!