IMPORTANCE OF POLITICAL CARTOONS TO NEWSPAPERS
A dissertation
submitted in partial fulfillment of the
requirements for the degree of
MS in Communication
Department of Media Studies
Christ University, Bangalore
2012
Meghana M Lawate
Register Number: 1024026
Christ University
Bangalore -580029
Christ University
Department of Media Studies
This is to certify that I have examined this copy of a master‘s thesis by
Meghana M Lawate
Register number: 1024026
And have found that it is complete and satisfactory in all respects,
and that any and all revisions required by the final
examining committee has been made.
Committee Members:
__________________________________________________________
Lecturer Mrs SuparnaNaresh
___________________________________
Date:_________________________________
ii
Authorsh
Declarat
I, Meghana.M.Lawate, confirm that this dissertation and the work presented in it
areoriginal.
1. Where I have consulted the published work of others, this is always clearly
attributed.
2. Where I have quoted from the work of others the source is always given. With
the exception of such quotations, this dissertation is entirely my own work.
3. I have acknowledged all main sources of help.
4. If my research follows on from previous work or is part of a larger
collaborative research project I have made clear exactly what was done by
others and what I have contributed myself.
5. I am aware and accept the penalties associated with plagiarism.
Date:
Meghana M Lawate
iii
Abstrac
Christ University
Abstract
IMPORTANCE OF POLITICAL CARTOONS TO NEWSPAPERS
Meghana M Lawate
Prof Mrs SuparnaNaresh
Lecturer, Department of Media Studies
Political cartoons are an important part in any newspaper. Political cartoons adorn a
small part of a newspaper, often in a corner. The position of this piece although small
the impact is huge. A cartoon conveys a lot of information in very few words. The
emotions behind the political cartoons are genuine and although harsh, are taken with
a sense of humour. While incomparison editorials are, firstly for the elite masses who
understand the highly intellectual content of the piece, also editorials have a tendency
to be politically correct and hold back, unlike cartoons. Cartoons are generally blatant
about their stand on the issue. There have been controversial cartoons like
JyllandsPostenthe Mohammad cartoon and the effective yet less controversial
R.K.Laxman. The dissertation will concentrate on how political cartoon are infact
one of the most important parts of any newspaper. It will try to understand the
effectiveness of political cartoons over editorials. How political cartoons are a means
of communication. The researcher will also try to understand how R.K.Laxman and
the common man have become symbols for the ‗aamaadmi‘. The methods of research
will include a qualitative analysis of political cartoons by interview and a quantitative
analysis by questionnaire method to understand how people perceive cartoons over
editorials. The researcher having completed the researcher is in a position to make
comments about the effectiveness and popularity of cartoons.
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TABLE OF CONTENTS
Chapter 1....................................................................................................................... ..1
INTRODUCTION ...................................................................................................... 1
1.1 Introduction to the topic
1.2 Early cartooning
1.3 Reasons for choice of subject
1.4 Inspirations
1.5 Famous caricatures
1.6 Editorials vs. cartoons
1.7 Political cartoons over comic strips
Chapter 2........................................................................................................................ 7
REVIEW OF LITERATURE....................................................................................... ..7
2.1 Books
2.2 Newspapers
2.3Websites
2.4 Conents of cartoons
2.5 Paginations and placements of cartoons
2.6 Controversies
2.7TV Shows
Chapter 3...................................................................................................................... 19
METHODOLOGY....................................................................................................... 19
3.1 Introductions
3.2 Research design
3.3Research setting
3.4 Data Sources and sampling
3.5 Instruments and procedures
3.6 Data Collections and analysis
3.7 Researcher's role
Chapter 4..................................................................................................................... 25
DATA ANALYSIS...................................................................................................... 25
4.1 Interview
4.2 Analysis of questionnaire
4.3 Finding
Chapter 5...................................................................................................................... 44
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CONCLUSION:............................................................................................................ 44
5.1 Conclusion
5.2 Limitation of the study
5.3 Suggestions
REFERENCES AND BIBLOGRAPHY ................................................................... 46
APPENDIX .............................................................................................................. 47
Appendix 1 Questionnaire
Appendix 2 CNN IBN screenshots
Appendix3: New York Times Article
Appendix 4 Famous Pocket caricatures by RK Laxman.
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LIST OF GRAPHS AND TABLES
Table and Graph Number
Page
4.2.1 Age...................................................................................................
30
4.2.2 Sex ...................................................................................................
31
4.2.3 Concept of cartoons.........................................................................
32
4.2.5 Importance of cartoons....................................................................
34
4.2 6 Opinion about cartoon......................................................................
35
4.2.7 Connection to content....................................................................... 36
4.2.8 Bias in cartoons...............................................................................
.37
4.2.9 Cartoons are stereotypical................................................................
38
4.2.10 Caricature of the common man....................................................... 39
4.2.11Impact of space on cartoons............................................................. 40
4.2.12 Change in opinion due to the Muhammad cartoon........................ .41
4.2.13Unbiased editorials..........................................................................
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42
ACKNOWLEDGEMENTS
This project in many ways has been one of the most creatively challenging tasks I
have undertaken as a part of the Academic Curriculum and in many ways has been an
experience – one that will help me in the future
I wish to convey my sincere regards to, Fr Biju, Course Coordinator, M S
Communication, Christ University, Bangalore for his kind co-operation to undertake
this project
At the same time I would like to express my sincere thanks to my guide, Mrs Suparna
Naresh for her valuable suggestions and for her moral support.
I thank all the faculty members of Christ University, Bangalore for their kind support
and guidance.
I thank the respondents for their valuable insight and for dedicating time to make this
dissertation a success.
I thank my parents and friends for their extended support in undertaking this project
and bearing with me through the process.
Last but not the least I thank God for helping me and it is only by His grace that this
has been possible; everything good that may come out of the project is dedicated to
Him.
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DEDICATION
To the common man who lives and loves each day of his challenging life.
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Chapter 1
INTRODUCTION
1.1 Introduction to the topic
Political cartoons for any newspaper are indispensible. It is a visual medium that
engages the audience, helps them understand and interpret the political, social and
economic scene in the country and the world. The political cartoons lately have
gained much importance and have a raised standing in a newspaper. Political
cartooning is essential for a newspaper to put out a point of view, which may differ
from one of its own .Cartoons that can help them understand the mood of the country
benefit people.
Political cartooning is inspired by the situations around the cartoonist, what he sees
and believes are portrayed through the sketch he creates. Apart from a great sense of
humour, a cartoonist is required to understand the political scene and make a
commentary on the situation, but to refrain from making it of bad taste. The cartoonist
is required to make an informed decision on his cartoon that will appear the next day.
The currency of the cartoon is what makes it different from other comic strips, a
cartoonist tracks the stories of the day and makes his cartoon accordingly. Cartoons
are often slapstick and exaggerated, yet aim at making a realistic appeal. To some
cartoons appear silly and as underplaying the severity of a situation, however it is
actually to establish the severity of the same.
Cartoons have been around much longer than newspapers themselves. From the times
of Leonardo Da Vinci caricatures have been an art form that was used for lighthearted satirical comedy that often exaggerated the physical features of the subject to
create humour.
Off late cartoons have become more controversial as their impact has become more
wide spread, cartoons such as the Jyllands Posten cartoon of The Prophet, cartoons of
Osama Bin Laden have made headlines. Since there is no law to implicate cartoonists
for their expression of ideas, the power of censorship is vested with the artist himself.
On the other hand the Common Man, a symbol of all this the Indian common man
goes through has created a cult following for the man and his maker. R K Laxman, a
political/social cartoonist has brought in the woes of the common man to the readers
through The Times of India and has brought politicians, bureaucrats and just about
everyone to the front page.
What is a Political cartoon?
According to Jonathan Burack ―Political cartoons are vivid primary sources that offer
intriguing and entertaining insights into the public mood, the underlying cultural
assumptions of an age, and attitudes toward key events or trends of the times. Since
the 18th century, political cartoons have offered a highly useful window into the past.
Just about every school history textbook now has its quota of political cartoons. ....‖
(Jonathan)
Burrack goes on to say that the simplicity of the cartoons is what makes cartoons
deceptive, the more simplicity of the drawing or visual, the more complex the thought
behind it. He points out that cartoons have evolved from the 1700‘s where they were
elaborate heavy on dialogues and obscure visuals. He says cartoons in short, are
visual strategies to make a point in small spaces.
It goes without saying that political cartoons or cartoon‘s in newspapers have a
special place in our dailies, apart from the obvious roles they play, as Burrack points
out, Cartoons are a reflection of society and provide for a point of view to the people
reading it. Cartoons are considered as harmless, while in reality they can unleash a
revolution, be it from a positive perspective like in the case of R.K.Laxman‘s
Common man or in a very negative way in case of the Jyllands Posten cartoon of
Prophet Muhammed.
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1.2 Early cartooning
The history of political cartoon‘s is older than the history of newspapers themselves.
Political cartoons are for the most part composed of two elements: caricature, which
parodies the individual, and allusion, which creates the situation or context into which
the individual is placed. Caricature as a Western discipline goes back to Leonardo da
Vinci's artistic explorations of "the ideal type of deformity"-- the grotesque--, which
he used to better understand the concept of ideal beauty. The sketch of "A Captain of
Pope Urban VIII" is representative of the new genre in that it is a quick,
impressionistic drawing that exaggerates prominent physical characteristics to
humorous effect. At its best, it brings out the subject's inner self in a kind of
physiognomic satire-- as the example presented here seems to be a comment on some
facet of the Captain's masculinity. Caricatures became popular with collectors, but
they perceived the "fanciful exercises" as curiosities rather than viable artistic
productions. As a result, they were not displayed publicly, and so one of the earliest
modes of established graphic satire remained in the parlour and drawing room...
(Virginia edu)
Nevertheless, whatever new path the satirical artists of the future take, and however
controversial it is, their vision of society, politics, and daily life will continue to play
an important role in contemporary culture. For as Michael Foot, former leader of the
British Labour Party, has said: ―Nothing to touch the glory of the great cartoonists!
They catch the spirit of the age and then leave their own imprint on it; they create
political heroes and villains in their own image; they teach the historians their
trade.(Encarta Microsoft)
Development of printing techniques and evolution of newspaper in the 19th century
lead cartoonists to get their work published in the newspapers.
For example
development of the lithograph in the 18th century allowed painters to draw better, use
vibrant colours, create textures and enhance quality of their work.
In India, political cartoons were used to propagate ideas and change. The vernacular
press and political cartoons became mediums to convey change and information.
Many freedom fighters used this platform to convey their thought, not just for
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freedom, post freedom struggle as well. Artists like BalaSaheb Thackeray and
R.K.Laxman commented on the various happenings in independent India. The
emergency is an example in the Indian context where cartoonists played a greater role
in putting out opinions. Editorials were curbed and could not present their point of
view.
1.3 Reason for choice of the subject
The researcher understands that cartoons are complex and important. Apart from
religiously following R K Laxman and his common man, the researcher chose to
understand why newspaper would invest in a cartoon when writing would do the job.
It became important to the researcher to look beyond the obvious aspects of cartoons
and the reason for their popularity, which is often said to lie in their ―funny one
liners.‖ Although this research refrains from making any comment on its impact when
compared to other mediums, the research tries to establish that cartoons are important
and the reasons for this importance.
Much research has been done in the field of semiotics of visuals, importance of the
page being text heavy or text light. There has been little focus on the minute aspects
of a newspaper such as the masthead, the obituary section, or this day that year
(Deccan Herald) sections of newspaper. The occupants of least amount of space and
the ones that generate least amount of revenue are ignored or left untouched. Thus, the
researcher chose to research the topic.
1.4 Inspiration for the research
The common man, the iconic symbol of resilience who is a silent spectator to all that
is wrong, looks at politicians and bureaucrats and is stumped by their actions. The
common man however takes it in his stride and moves on with what he has to do. He
makes his peace with corruption and apathy. He is okay with overpopulation and
congestion; he genuinely understands the problems of his fellow citizens and tries not
to judge.
The maker of the Common Man, R K Laxman is an inspiration to many, the great old
man of political cartooning is ageing and still continues to keep his readers in awe. In
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his own words, Mr Laxman says ―Democracy today is not what Pericles of Athens
conceived. What you have today is not democracy… Our politics is so sad that if I
had not been a cartoonist, I would have committed suicide.‖ Such is the passion of the
great man, who found himself the ideal partner, his simple common man.
Laxman has inspired cartoonists and readers in India for over 5 decades and has had
readers comeback to him, a post on the website Indian Caricatures says ―Calling him
the Shakespeare of Indian cartooning wouldn‘t be overstating it... Someone who, for
about 54 years now, has every morning shown politicians what windbags they
are‖(Indian Caricatures)
1.5 Famous caricatures
Most famous caricatures around the world have been of politicians. Others may also
be featured in the section but these celebrities are quoted with a political context. Few
of the more famous political caricatures are of

Mrs Indira Gandhi,

PM Man Mohan Singh

Sonia Gandhi

AB Vajpayee

The most famous of them all, the common man by RKLaxman
To quote a few, George Bush and Barrack Obama cartoons are also popular. The
popularity of a caricature
depends upon the news, for short lived news, the
caricatures come in and die out, however sustained coverage of any issue leads a
caricature to become popular and recognised. The image of Mrs Indira Gandhi with
the prominent nose and raised hair has given readers an idea of Mrs Gandhi, most
photographs have failed to capture the attention of the reader. Similarly the Sonia
Gandhi caricature of her hand raised high up has lived on.
1.6 Editorials Versus Cartoons
It is a popular belief that editorials are inherently biased and take on a perspective of
the management of a newspaper organisation, while a cartoon is unbiased. Editorial
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pages are considered as an opinion of the intellectuals and elite. It is rarely said so
about cartoons. Be it the common man, who is an icon of the ―Aam Admi‖ or the
Amul Milk Corporation doodles, these cartoons provide comic relief like any other
comic strip, except they raise an issue that is relevant, cartoons run a commentary on
the lives of the millions of readers.
1.7 Political Cartoons over regular comic strips
A comic strips like Blondie, Garfield or Hagar the Horrible are merely comic relief.
Political or social cartoons are not used just for humour but also to create awareness.
Comic strips are not country specific, however a political cartoon is placed with
regards to the geographical location. A cartoon in The Washington Post on economy
has little or no relevance in India, because of disconnect to the context. The issues in
India are corruption, cricket, population, congestion, rains, droughts, and the likes of
the same that are extensively covered in these political cartoons.
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CHAPTER 2
REVIEW OF LITERATURE
2.1 Books
R K Laxman: The common man seeks Justice
The book written by R K Laxman, titled the common man seeks justice throws light
upon the complex life of the common man who is a silent spectator to all that goes
around him. The common man is shown as a submissive character with deep insights.
He is hopeful and usually disappointed in what he receives in the end. ‗The common
man seeks justice‘ is about the battles of this extraordinary spirit.
The book helps the researcher know how cartoons are drawn and how they influence
the minds of the readers. How a meek and submissive yet jolly the character is. It
leaves to the imagination of the reader on how to interpret the cartoon. The cartoons
in the series can be seen as all accepting, highly corrupt, sometimes stupid and
unreasonable. (Laxman)
The researcher sees the book more like an exercise to understand subtle hints and
inclinations of the field of research than the research itself.
It is a good composition of cartoons that have been collected over a period and thus
give insight into the various changes in politics, economics and even the social set up
of the country.
2.2 Newspapers
New York Times:The New York Times article by Victor Navasky, speaks of how
political cartoons are although considered harmless are often cause for highly violent
reactions by the people. He discusses the politics of a cartoon where he speaks of
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solid scientific and psychological reasons about why people react the way they do to
cartoons. The researcher had found the source extremely useful, as it not just
confirmed the idea that visuals are impactful but interestingly pointed out the various
outbreaks of such incidents.
A cartoon for all purposes is a funny take on issues and the society in general, but it
would be highly unlikely that one may not notice how far and wide the impact of the
cartoons are. The researcher will quote two major cartoons simply to establish the
importance of the same. The cartoons two being Jyllands PostenMuhammed Cartoon
and the Common man, both iconic cartoons in their own rights. As it is pointed out
further in the research, these cartoons have created an impact on the society we live
in, they have changed perceptions about world around us. , In terms of freedom of
speech and expression, in terms of religious tolerance only to show how society
respects a point of view as long as it is not unjustified and does not hurt the emotions
of people.
The New York Times article dated Nov 13 2011by Victor Navasky wrote an article
called ―Why are political Cartoons incendiary?‖ in the article he points out that the
cartoons that are published and are offensive have often led to rather violent reactions
from people. In the same article, he points out how a bomb was sent to a French satire
magazine called Charlie Hebdo. This extreme reaction is not a new phenomenon and
had occurred various times in history. He points out such as that in the 19th century,
Honoré Daumier, the great French caricaturist, was thrown into prison for his
depiction of King Louis-Philippe as Gargantua. In 1835, when the king re-established
censorship, which had been suspended, it was not for print but rather for caricature
(―censorship of the crayon‖) on the ground that whereas ―a pamphlet is no more than
a violation of opinion, a caricature amounts to an act of violence.‖ (Navasky) 1. This
reaction has says has psychoanalytic, Neurological and anthropological explanations,
he points out that from a scientific perspective ―neuroscientists tell us that if we want
to understand our emotional reaction to what we see, we have to understand the brain,
its right (emotional) and left (rational) spheres and how the visual stimulus passes on
the information to the region called the amygdala, the brain‘s so-called fear
center.‖(Navasky)
1
Victor Navasky is a professor at the Columbia Journalism School, and chairman of the Columbia
Journalism Review, who is at work on a book about political cartoons
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The researcher has attempted to explain the aspects of cartooning with as much
simplicity and logic as possible, it is important to know that a cartoon is a reflection
of a state of mind, having said that it is also the reader‘s state of mind that is reflected
in the same.
DNA:
Daily news and analysis the newspaper carried a story on the 07/Nov/2011, the article
features on the new TV show called Laxman k iduniya, a show about the common
man and the challenges he faces, the researcher chose to read the article only to
understand how big an impact the common man has made on the people. The face of
the common man is one that everybody recognises and relates to. The article dated
7/Nov/2011 also goes on to the production details of the same.(DNA india)
2.3 Websites
2.3.1 History of cartooning : xroads.virginia.edu
The history of cartooning has been long and been documented as works of art, the
researcher wanted to understand how far the history of cartooning is. These detail
have a changed the researchers point of view about how cartoons were always made
with a agenda and how often they have been used in the past as a part of a propaganda
technique.
The website concentrated largely on throwing light upon 200 years of cartooning
history beginning from the early 18 th century.
As a continuation of this research, the researcher also referred to another
encyclopaedia
http://www.ccgb.org.uk/Pages/history_of_the_cartoon.html
:
this
online source helped the researcher track the development of cartoons through the
ages and the 20th century. It is quite amazing how this art form has maintained its
stature in entertainment and intellectual circles alike.
2.3.2 The history: Encarta Microsoft
Being one of the largest reserves of information, this website broke down the timeline
of political cartooning. With the arrival of the era of editorials and editorial cartoons
9
in the late 1900‘s a sea of change was seen. The researcher has tried to sketch the
timeline from the late 18th century and early 20th century (i.e. post world war).
Timeline :
18thCentury : The first British artist to excel in this area—for many the true founder of
the modern cartoon in all its aspects, whether socio-political satire, caricature, or
simple graphic humour—was William Hogarth. He was also the first artist to massproduce his own work, in the form of engravings, for sale to the public. His satires on
the follies and vices of his age—beginning with A Harlot‘s Progress and The Rake‘s
Progress—were a great success and set the tone for all future work. However,
Hogarth‘s successors differed from him in two respects—they had their work
reproduced by etching rather than engraving and they were more concerned with
political propaganda and pictorial jokes than moral themes.
The London-based printer and publisher Arthur Pond produced a collection of
European caricatures (including many by Ghezzi) in 1744 but, according to Horace
Walpole, the first Briton to make satirical drawings of specific political figures was
the amateur artist George, Marquis Townshend. However, Hogarth‘s two most
important successors in the 18th century were Thomas Rowlandson and James
Gillray.(Encarta Microsoft)
19thCentury : The last of the really important British graphic satirists of the Georgian
period (before France began to dominate the scene) was George Cruikshank. Working
at first with his brother Robert in the Scourge, his illustrations to William Hone‘s
pamphlets attacking George IV forced the king to try to bribe him to tone down his
work. He also produced a series called Monstrosities (1816-1829), mocking fashions,
and was so popular that Sketches by Boz, which he illustrated, sold at first largely on
the artist‘s name rather than that of the then little-known writer Charles Dickens.
However, in about 1847 he joined the Total Abstinence movement and his work lost
its edge completely.
Other notable British artists of this period include William Heath (Paul Pry), who
edited and illustrated the Northern Looking-Glass (1825-1826), the first caricature
magazine in Europe; John Doyle (HB), the grandfather of Sir Arthur Conan Doyle;
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and the gifted Robert Seymour, who was the main illustrator of Figaro in London (a
precursor of Punch) and who produced seven plates for Dickens‘s Pickwick Papers
before his untimely death by suicide.(Encarta Microsoft)
The technique of lithography, invented in 1798, gave artists the opportunity of
drawing directly on to the printing surface and allowed a much wider range of
textures and colours than was possible with etching or engraving (see Prints and
Printmaking). Caricaturists were not slow to exploit the new medium. Foremost
among them was the Frenchman Honoré Daumier, whose work dominated this period
and who exerted enormous influence worldwide. The early 19th century was also the
era of the mass development of the press. Hitherto, humorous or satirical drawings
had only appeared as individual works of art or as limited-edition prints—often handcoloured—available only in specialist shops in large cities such as London. In the
19th century, however, with the advent of lithography and woodblock engraving,
cartoons and caricatures began to appear in newspapers and magazines, which were
widely
disseminated
and
sometimes
used
colour-printing
techniques.
In France the cartoonist Charles Philipon, generally acknowledged as the father of the
modern humorous magazine, founded La Caricature in 1830.In its pages, he and
Daumier, among others, mercilessly lampooned Louis-Philippe. On one occasion,
Daumier drew him as Gargantua (the giant whose legendary exploits were
popularized by Rabelais) was sitting on a commode and Philipon himself once
depicted him as a pear—the subsequent furore led to both artists being imprisoned.
Then in 1832 Philipon began the less political but even more successful magazine
LeCharivari, with contributions by Daumier, Paul Gavarni (under the pseudonym
Guillaume-Sulpice Chevalier), Jean-Ignace-Isodire Grandville (under the pseudonym
Gérard), and others. When in 1835 French censorship laws prevented direct attacks on
individuals, the satirists took to using type-figures, Daumier‘s characters Ratapoil and
Robert Macaire being particularly noteworthy.
The history of the political cartoon scene in the world is if not ancient is definitely old
and has survived over ages. Skipping to the 20th century and this contemporary era of
political cartoons is the 1960‘s with the advent of satirical TV shows that gave
impetus to newspaper cartoonists to experiment. Today there is a growing tradition in
Europe of caption-less drawings, often with a strong political message. Other
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cartoons, however, such as those of Steve Bell in Britain, whose attacks on the
premiership of Margaret Thatcher were described in the House of Lords in 1987 as
―an almost obscene series of caricatures‖, seem to be reviving the tradition of
malicious lampoonery that harks back to Gillray. On the caricature side, whether one
looks at the work of David Levine in the United States, Mulatier-Ricord-Morchoisne
in France, or that of countless others, it seems that cartoon art is becoming ever more
influenced by photography, combined with the sort of extra-fine draughtsmanship that
was practised by such artists as Tenniel in the 19th century.(Encarta Microsoft)
2.3.4 Importance of visuals?
2.3.4.1 www.editorsweblog.org/newspaper/2008/08/opinion_the_importance_of_
visual_briefs
Mario Garcia pointed out on the importance of a visual piece to a newspaper, in an
article by Katherine Thomson on editorsblog.org, she quotes Garcia ―I have taken
briefs to a different level, what I call "visual briefs". Briefs do not need to be limited
to short headlines and a few lines of text. As such, I have experimented with the use
of a small photograph, usually the size of a small mobile telephone screen,
accompanied by a few lines of text. It has been very successful in each case."‖
(Thomson) In the same article she points out how research conducted by the Poynter
Institute for Media Studies has shown how important they are, and that adding a
small photo enhances this further. The same logic can be applied to a small cartoon or
caricature that has a tendency to make a point, break the monotony of a page and
makes for a little entertainment.
2.3.4.2 Editorial cartoons: www.teachinghistory.org
In his address to students on the website teachinghistory.org, Burrack states that
political cartoons are a great insight into understanding the past, he says that history
teachers can depend on them for teaching students historical contexts. What this idea
helps the researcher understand is that political cartoons although on the surface are
entertainment; they have multiple layers of depth that can be read into. Political
cartoons, he says,b egun in the 1800‘s and have evolved to become an integral part of
the newspapers. He comments that most adults do not understand the depths of this art
form and treat it yet another comic strip, however Jonathan Burrack looks at cartoons
12
to convey more than just comic relief but as a smart and safe way of putting across a
certain issue.
In a country like India, political cartoons perform the function of the 4 th estate by
constantly pointing at the socio—economic, political and financial shortcomings of
the government. Political cartoons are spaces for commentary on the lives of people
which is evident from one glance at the cartoons. Social commentary may be
corruption or cricket, cartoonists have ‗Indianised‘ cartoons to make them appealing
and funny but with a sense of judgement and questioning.
2.4.Content of a political cartoon
Political cartoons are satirical and make an observation about a situation. It touches
upon issues that may not be suited for commentary by the editor. A cartoon is
endorsed by a newspaper and is definitely a questioning and decisive piece that at
times may even be biased. A good cartoon can say what the editorial may try to avoid,
cartoons are safe, and that is why any newspaper tries at getting out the best artwork.
The researcher used two sources to understand and interpret the content of political
cartoons, one being Ted Goertzel a published author in the journal of political
Psychology and Jonathan Burrack of the techinghistory.edu.
Both the authors point out certain similar features that make a political cartoon tick
among its readers.
The content of any cartoon is :
Symbolic :Symbolism is important, a even when people are unsure of how they feel
and are unable to decide on the cognitive perspective of their take on issues, studies
have indicated a certain level of emotional response to the issue at hand. The author
quotesthat there is evidence of a high frequency of emotional symbolism, as defined
by DeMause's theory, in editorial cartoons. He states that emotional appeal is what
gives editorials it‘s all important ―edge‖. (Ted)
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Distortion: distortion is an important part, like Da vinci‘s creative distortion where a
figure is distorted intentionally to show art and as a creative gesture. Cartoonists use
exaggerations in size, emotions, and shape of a person or object for effect.The author
Jonathan Burrack uses the example of depiction of China with a dragon and For
example, a dragon is often used as a symbol for China. However, change in the
expression of the dragon is reflective of the state of China. (Jonathan)
Irony in words and images: :An ironical statement makes the point. Jonathan
Burrack says that irony makes cartoons witty and point out the flaws in the system.
He says cartoons must entail irony as they can make a contradiction and argument
(Jonathan)
Stereotypes and caricature: Stereotyping is common in cartoons, it‘s in a stereotype
that the cartoonist tries and explains and simplifies a largely applicable point of view .
For instance, America is capitalist, or Indian politicians are corrupt. Although
stereotypes are offensive they help the cartoonist establish an idea. It promotes a point
of view,for example, all cricket matches are fixed.Although offensive it makes a
strong point which can be debated upon, it opens grounds for discussion.
An argument not a slogan: cartoons are pointed and take a jab at issues, it is not
mere slogans that state a fact. Slogans are ―roti Kapdaaurmakan‖. But a cartoon goes
beyond trying to explain how this is achieved or not. In either case it is opinionated
and blunt. So even though it is biased, the cartoon provides one, grounds for
responding and even arguing back.
14
The uses and misuses of political cartoons
The researcher also realised that cartoons are often taken literally. If a cartoon is to be
understood as an exaggerated comment, it should also be interpreted so in the future.
2.5 Pagination and placement of political cartoons
To understand the various aspects of the page element, why designers choose cartoons
and how they are chosen
2.5.1 Cognitive considerations
Refers to those aspects of the publication that affect such processes as quickly finding
the relevant information, (what you are looking for), grasping the status contrasts
between items (advertisements vs. editorial material and scientific vs. speculative) or
topic differences (weather, foreign news, editor's view etc) between items. These
processes are partially affected by the same properties that affect the aesthetic value
of the page. Cognitive considerations are relevant to three different interest groups
interacting via the newspaper: the reader, the editor or producer of the newspaper and
the possible advertiser. Table 1 depicts the goals and means to achieve the goal that
these
interest
groups
have.
In
the
article
by
Krista
Lagushttp://users.ics.tkk.fi/krista/personal/dippa/node10.html, she point out the
aesthetic considerations in making a page.
Table 2.5.1: Different goals and means of the interest groups of a generalized newspaper.
15
2.5.2 Aesthetic considerations.
Contrast: There should be both large and small articles on a page, as well as headings
of different sizes. One large photo and strong heading on one page is enough [Rehe,
1985]. There should be at least one strong element on a page.
Balance: There should be balance between the strong elements and different areas of
the page, so that no area is underutilized. Absolute balance should also be avoided
[Rehe, 1985]. Krista Lagus says that asymmetrical designs also work for a newspaper.
Harmony or unity: the lines in a page are definitely important, the designer must align
the page such that imaginary lines do not collide or create visual distortion. . (Krista)
2.6 Controversies
Political cartoons in their essence are sarcastic and insulting of the most famous
controversies that caused the world to take a strong and hard look at the effectiveness
of the editorial cartoons . Editorial cartoons are subjective and are very strongly
worded which may go against a person or group. Certain aspects that may lead to a
controversy about a piece of art (any form) anywhere around the world can be
observed mostly to do with religion, the most recent controversy is the Jyllands
Posten Muhhamad Cartoon.
The Jyllands-Posten Muhammad cartoons controversy began after 12 editorial
cartoons, most of which depicted the Islamic prophet Muhammad, were published in
the Danish newspaper Jyllands-Posten on 30 September 2005. The newspaper
announced that this publication was an attempt to contribute to the debate
regarding criticism of Islam and self-censorship. Danish Muslim organizations that
objected to the depictions responded by holding public protests attempting to raise
awareness of Jyllands-Posten's publication. Further examples of the cartoons were
soon reprinted in newspapers in more than 50 other countries, further deepening
the controversy....
The Muslim world was taken by shock and the cartoons were called racist and
islamophobic. The violence escalated and many parts of the world saw violent
16
outbursts of the same. Nearly a 100 people died and groups of people set fire to the
Danish embassy. The lack of self-censorship and the highly sensitive issue of religion
were mainly why the people felt violated. Danish Prime Minister Anders Fogh
Rasmussen described
the
controversy
as
Denmark's
worst international
crisis since World War II.
While critics called this move as highly insensitive and racist, they believed that
Muslims as a minority were targeted. Supporters however said that cartoons are
published around the world sometimes of religions or religious leader. This reaction
was unjustified.
There is some truth in both arguments but to say that people should accept the cartoon
however distasteful is pushing the freedom of expression too far. Cartoonist are given
the right to say their say as subtly as possible.To take a dig at religion is a breach of
the basic idea that cartoons are unbiased and bring up important issues. The freedom
of expression should never disturb the peace of the country or world.
This case however is not in isolation many cases of wrong and racist comments have
been showcased in newspapers. Ironically cartoons are considered as least harmful yet
bearing the potential for a riot of epic proportions.
2.7 TV shows
Political cartoons have had their impact on TV as well; puppet shows like
―Gustakimaaf‖ on NDTV is an example of how television is inspired by political
satire. Exaggerated figures are used to bring out humour.
SAB TV has proposed to air ―Laxman Ki Duniya‖ inspired by Laxman and portrayal
of the common man. This goes on to show the impact of political satire on our
Television industry. (DNA india)
The researcher also watched news capsules on R K Laxman on CNN-IBN as a part of
the research, CNN-IBN aired a show ―Six decades of RK Laxman and his common
man‖ as a part of Laxman‘s 90th birthday. This programme focused on the various
aspects of Laxman‘s such as his beginning with Times of India and the legacy 60
years later. Politicians, editors, his close associates, and other cartoonists were full of
praises for the cartoonist. Renowned cartoonist Sudhir Dar describes Laxman as a
17
genius,Senior BJP Minister Ravi Shankar Prasad says Laxman runs a wonderful
commentary on contemporary India. Columnist Bachi Kakarria (Columnist TOI)
spoke of how Laxman was focused and dedicated he was, she also suggests he was a
disciplinarian. Other in the news capsule were Dilip Padgaonkar (Executive Editor
TOI), Darryl D‘Monte (Resident Editor, TOI)Vasant Sathe (Congress Leader)Inder
Malhotra (Journalist) (refer appendix) (CNN IBN).
18
Chapter 3
METHODOLOGY
3.1 Introduction and Hypothesis
The hypothesis: To prove the relevance of the cartoons as important rather than that
an insignificant visual filler.
This study titled ―Importance of Political cartoons‖ is a study about how editorial
cartoons have become an indispensable part of any newspaper. The portrayal of
cartoons is casual and lighthearted. However, this research aims at highlighting the
role of cartoons in the newspapers. Editorial pages although important, have a low
readership, cartoons however have not just a fan following but have a high recall
value which keeps issues alive even when the editorial section has moved on to
another topic to discuss.
Cartoonists like RK Laxman are legends not because of the paper they associate with
rather because of the cartoons they put out. The Times of India also owes Laxman for
highlighting issues that otherwise are lost in a country like ours.
This study will aim at finding the perception of readers about cartooning, journalists
and their take on the political cartoons with a reference of RK Laxman and his body
of work. The study works with the assumption that Political cartoons are important to
newspaper, may be even to the extent of replacing editorials. The study will help if
not conclusively but with substantial evidence that political cartoons are indispensable
to a newspaper.
19
In the further chapters, the researcher will try to understand the reasons why cartoons
are popular, why we identify with cartoons, and over the years cartoonists have
helped the freedom of speech and expression.
The research question: Importance of political cartoons.
Sub questions:
1. In what way are editorial cartoons better?
2. What makes a good cartoon?
3. Is a political cartoon taken seriously?
4. Bias in editorials and cartoons
5. Is the internet bringing in a new era of editorial cartooning?
6. Are exaggerations justified if they portray as situation worse than it is?
7. Perception about cartoons amongst people
8. Popularity of the cartoons.
3.2 Research design:
The research design will help the researcher organise logically the sequence of
research.
In studying political cartoons and how they are indispensible to a newspaper the
researchers will use a combination of quantitative and qualitative methods
(triangulation) . The researcher chooses so to help his/her find conclusively and prove
the hypothesis. The quantitative technique will help statistically prove why the readers
prefer one form of opinion over the other. (Cartoon‘s vs. Editorials) while the
qualitative research through content analysis will help the researcher understand the
appeal and reason to that appeal.
20
3.2.1 The goals of the quantitative research are to prove the following
1. Popularity
2. Liking
3. Preference
4. Age groups of the readers
3.2.2 The goals of the qualitative research are

Reasons of likeability over editorials

Reasons for preference

Importance of political cartoons by tracing its history.
By using triangulation the researcher can establish multiple factors to prove the
importance. Rather than proving that cartoons are popular or important this
dissertation will try to establish why they are popular and the multiple reasons for the
continued following for such cartoons.
There are few problems with both quantitative and qualitative collection firstly
quantitative data will prove if one is popular over the other. If one can replace the
other in the years to come. These are merely opinions of the people interviewed and
cannot be generalised to the industry. Although newspapers have already started
thinking in this direction it is difficult to prove that one is actually better than the
other. The qualitative data will prove the pitfalls in the editorials and the advantages
of the Political cartoons but again cannot conclusively prove it. It is subjective what
one likes and prefers.
The researcher can only try and touch upon the subject but not make a argument
proving conclusively that one is better than the other, however that one is effective
than the other can be observed through the responses of the samples taken.
21
3.3 Research setting:
The researcher will interview industry professionals and readers to understand and
gain insight into the subject. The researcher not being from either of the professions
will gain important information about journalism and cartoons and their
interdependence or independence on/from each other.
The interviews with journalists will provide a balanced point of view and may be a
conflicting point of view about the importance. This debate will create an interesting
background to examine the two mediums i.e. textual and visual and see if the
hypothesis which the research basis his research upon is valid.
The readers or the 2ndset of interviews are the quantifiable information to indicate
why they like or dislike cartoons or editorials, or if they have a preference of one over
the other. This will help the researcher understand the psyche of the audience and see
if the audience demands more visuals than texts.
3.4 Research sample and data sources:
The research sample will be a sample size of 65 readers of cartoons in various
newspapers. The sampling technique uses is a combination of quota sampling.
Quota Sampling :Using this method the sample audience is made up of potential
respondents who will fit into the frame that is seem fit. For example for the proposed
research, the respondent must be aware of editorials and political cartoons and have a
preference for either.
The quota : newspaper readers who read both cartoons and editorials.
The readers must have certain level of awareness about the issues that are addressed.
Random sampling: any 65 of these readers were chosen to fill out questionnaires.
The age group of the readers is not an important issue the sample age varies from 18 –
50 and above
22
3.5 Instruments and Procedures:
The researcher aims at using a mixture of instruments to measure and prove the
importance of cartoons to the newspaper.
3.5.1 Quantitative:
Questionnaires: the researcher distributed questionnaires to readers of political
cartoons and collect data to prove or disapprove that there is a strong preference for
cartoons over editorials. It helped the researcher find the regularity with which the
readers read the cartoons. This data helped the researcher understand what people like
and why.
3.5.2 Qualitative:
Interviews: interviews with industry experts helped the researcher gain insight into the
profession and try to bring in a unbiased and balance point of view to the research.
3.6 Data collection and analysis:
The researcher collected data by handing out questionnaire through online forums
where a large audience can be reached. Collected data will be analysed through SPSS
and excel and using bar graphs to indicate preference.
3. 7 Role of the Researcher:
The researcher consciously tried to avoid bias towards his/her preference of cartoons.
The research was unbiased and fair, however the researcher had to avoid sampling
errors and sampling bias. The role of the researcher was not to prove the hypothesis
wrong or right but to simply work with it and not let the expected end result affect the
process.
23
3.7Terms used in the study:

Political cartoons: cartoons that appear in a newspaper as a commentary on the
everyday lives of people, politics.

Social cartooning, editorial cartoons used interchangeably with political
cartooning.

JyllandsPosten :Morgenavisen Jyllands-Posten is a Danish daily broadsheet
newspaper. One of the largest selling newspapers in Denmark.

R K Laxman :Laxman is a pioneer of Indian cartooning, working with Times
of India.

Common man : a famous caricature by Laxman as a spectator to the situation
he faces.
24
Chapter 4
DATA ANALYSIS
4.1 Interview
The interviewee Mr Ulagnathan Ganeshan,has been the News Editor for Deccan
Herald. He was an important resource to the researcher to understand the importance
of cartoons to newspapers mostly from the perspective of a newspaper organisation
rather than a reader. The insights of the interviewee are highly valued, as they have
given a better understanding of the subject. (Ganeshan)
4.1.1 Transcript of the interview:
Q1: What is it that makes for a good cartoon and a good cartoonist?
A: a good cartoon is mainly a product of a keen eye, a cartoonist is required to keep
his eyes and ears open at all times. He must identify with subjects and reflect upon
them. As for a good cartoons it must have few words and more pictures that are
presented with simple art work.
(This answer is reflective of the general opinion that the researcher believes that a
cartoon is to be simple and reflective of the society. In the interview, the interviewee
suggests that a good cartoon should be visuals and not text heavy. Much like Mr
Laxman‘s cartoons where his close associates suggested how he saw even small
changes and noticed minor characteristics )
25
Q2:As an editor of a newspaper, why would one choose a political cartoon?
A: a political cartoon or any cartoon is a good break from all the text heavy content.
Political cartoonists use politicians as they are good fodder for a cartoon, readers are
interested in politics,andpoliticians make manymistakes, which are good to make into
cartoons.
(The editor of a newspaper makes most important decisions of the content, it is
necessary to understand why an editor would choose a cartoon. The interviewee
reveals that cartoons add the most important visual break and makes good designing
sense also that politics dominates our lives is reflected through his answers. )
Q3: Editorials are biased or so is the belief, Are cartoons free of this bias?
A: Yes, cartoons are free of bias, however it cannot be ruled out. It depends on the
newspapers working, in vernacular newspapers, which are often aligned to political
parties for instance in case of Tamil newspapers aligned to DMK, AIDMK it, may be
a little biased. Sometimes cartoonists themselves are sympathisers with the
politicians. Cartoonists may mostly be independent but they also have to comply with
the newspaper they work with. To say that 70% they are independent and 30% of bias
would be right.
(To confirm if in reality cartoons are unbiased, the researcher posed the question. The
interviewee says that bias is inherent yet not as much as in an editorial. He says that
political cartoons especially in vernacular press are biased or at least are inclined).
Q4: Can a cartoon replace an editorial?
A: No, a cartoon cannot replace an editorial. An editorial is a reflection of the point of
view of the newspaper and its management about the happenings. It is an opinion
about an issue; a cartoon is a point of view or a direction for people to understand the
happenings. It does not establish an opinion but only the fact.
(As reflected further in the data analysis, the interviewee says that the cartoon does
only that much for a newspaper. An editorial is the voice of the newspaper and the
26
newspaper takes a stand and expresses its point of view which is important to its
readers)
Q5: What about cartoons makes it indispensible?
A: Political cartoons or social cartoons are something the reader identifies with, a
reader identifies with a series of characters or situation that are reflected but the
cartoonists. In case of Laxman, if he draws a cartoon on the problems of congestion it
is most likely people will identify with it. Not just political cartoons any cartoon like
Dennis the Menace gave people a sense of familiarity and they identified with Dennis.
Similarly, the common man is an icon because people identify with him, his woes and
issues he is a bigger icon then RK Laxman himself.
(The interviewee suggested that the general connection people have with cartoons is
what makes cartoons indispensible, people connect with the cartoon. Its the realism
and the humour that makes newspaper choose cartoons.)
Q6:R.K Laxman is a genius , Do you think that he is in a way responsible for raising
the standards of political cartoons in newspapers?
A: RK Laxman was a social cartoonist, there have been better political cartoonist like
RajendarPuri, Ravi Shankar, SudhirDhar, Mario Merando.
These days however
cartoons are losing their standing in the mainstream English newspapers, vernacular
press has however good cartoons. Commercial interests seem to be taking over
readers interest.
Q7: New Media boost to political cartoons?
A: The new media isn‘t don‘t much for the cartooning scene, the importance of
cartoons on new media space is less, people are not familiar with the new media space
to explore it fully. It is a tedious process to generate content and the resources are
limited.
27
Q8: What makes for a good cartoon and cartoonist?
A: A good cartoonist is one with keen eyes and open ears. He has to be able to
present to a audience a situation with humour as it main component. A good cartoon
should contain less word and more picture.
28
4.2 Data analysis of questionnaire
4.2.1 Age of the respondent:
Age group
1%
3%
5%
5%
Below 20
20-30
30-40
40 -50
50 and above
86%
Graph 4.2.1 :Age group of the respondents
Age Group
Respondents
Percentages
Below20
1
1
20 -30
56
86
30-40
3
5
40 -50
2
3
50 and above
3
5
Table 4.2.1: Age group of the respondents
As indicated in the graph above, the researcher as a distribution of 65 respondents
over five age groups, these individuals were approached through a stratified random
sample of individuals whom the researcher chose as an ideal sample for their
awareness about the subject matter. The age of the group is not a criterion in the
interpretation of the study, as the awareness of the subject is not correlated to the age.
29
4.2.2 Gender
Gender
46%
Male
Female
54%
Graph 4.2.2 :Sex of the respondents
Sex
Respondents
Percentage
Male
30
46
Female
35
54
Total
65
100
Table4.2.2 :Sex of the respondents
The population under this study is fairly balanced, of the 65 respondents 35 of them
being female. The graph is in no way an indicator of the responses given to the
stereotypical point of view that women are less interested in politics and hence would
like or dislike political cartoons. Each of the respondents are sure of their point of
view about the subject and research.
30
4.2.3 Do you understand the concept of Political cartoons?
Understanding
0%
Yes
No
100%
Graph 4.2.3: understanding of the subject
The concept of political
Respondents
Percentages
Yes
65
100
No
00
0
cartoon
Table 4.2.4: Understanding of the subject
As indicated above and as stated in the previous graphs, the respondents are fully
aware of the concept of political cartoons, the sample indicates the popularity of the
medium and possibly, of the impact it has on society. Of all the age groups the
respondents responded positively to the question are you sure of the concept of
political cartoons?
31
4.2.4: Do you read political cartoons?
Readership
15%
Yes
No
85%
Graph 4.2.4: Do you read political cartoons
Readers
Respondents
Percentage
Yes
55
85
No
10
15
Total
65
100
Table 4.2.5: Do you read political cartoons?
The readership of political cartoons is comparatively high, the sample size chosen was
to include people who are aware of political cartoons and editorials, people who are
readers of newspapers. Thus the sample is inclusive of those aware about cartoons yet
do not read them.
32
4.2.5Are political cartoons important to newspapers?
Importance
15%
Yes
No
85%
Table 4.2.5: Importance of cartoons
Readers
Respondents
Percentage
Yes
55
85
No
10
15
Total
65
100
Table 4.2.5: Importance of Cartoons
The question of importance of cartoons is shown in the graph, above, it shows clearly
that people do not pass of cartoons and a merely a visual representation, the readers
understand that a cartoon is integral to a newspaper, it is more than a design element
which is why they feel that is definitely important. The rest of the respondents who
chose that they are not integral to a newspapers may feel that they can be done away
with. Considering that many may believe that a cartoon is visual banter, silly and
irrelevant or against their own political beliefs that may led them to choose the option
of them being irrelevant.
33
4.2.6 Opinion about Political cartoons
Political cartoons are
8%
Silly and Irrelavant
34%
58%
Vital to newspaper
Important but lesser than
editorials
Graphs 4.2.6Opinions about political cartoons
Political cartoons are
Respondents
Percentage
Silly and irrelevant
5
8
Vital to a newspaper
22
34
Important
38
58
Table 4.2.6: Opinion about political cartoons
The next questions shed light upon the possible reasons for choice of the readers of
the cartoons. This graph shows that 38 respondents are of the opinion that political
cartooning in newspapers is important, they seem to think that as a comparison an
editorial cartoon can never be a replacement for an editorial. 22 of the respondents
however seem to believe that they are of utmost importance to the newspapers,
sometimes more than an editorial.
This statics makes it proof enough that people understand the importance of cartoons.
The scale of likability is different.
34
4.2.7 What content does the respondent connect with?
Connection to content
37%
Edit Page
Cartoons
63%
Graph4.2.7: Connection to content
Content
Respondents
Percentage
Edit page /editorial
24
37
Vital to a newspaper
41
63
Total
65
100
Table 4.2.7: Connection to content
The graph above shows that cartoons have a greater connection with the audience.
The audience seems to feel more concentrated upon by the cartoonist than theeditor
does. Editorials have developed a reputation for being biased and this works against
them there is the fact that editorials are not for the common man. Editorials sound
high in intellectual content that many respondents may not like to read or may not be
capable of understanding.
35
4.2.8: Are political cartoons unbiased?
Bias in Political cartoons
37%
Yes
No
63%
Graph4.2.8: Bias in political cartoons
Political cartoons are
Respondents
Percentage
Yes
41
63
No
24
37
Total
65
100
unbiased
Table 4.2.8: Bias in political cartoons
Political cartoons are unbiased, the graph indicates that a large number of people
believe that political cartoonists are largely unbiased and seem to have little or no
vested interest. They seem to believe that cartoonists simply portray the reality. This
opinion may also be affected by the belief that editorials are relative more biased.
However, what this graph also shows is that a majority of the people, immaterial of
their opinion about the importance seem to believe that cartoons are largely unbiased.
The interview with Mr UlagNathanGaneshan seemed to hint at the same with the
point of view that, editorials are a point of view of the management of a newspaper; it
is an opinion and is inherently biased as it takes sides.
36
4.2.9 Political cartoons are offensive and stereotype people
Cartoons are offensive and stereotype
people
0%
0%
5%
Yes
No
95%
Graph4.2.9: Offensive and stereotypical
Political
cartoons
offensive
are Respondents
Percentage
and
stereotypical
Yes
3
8
No
62
34
65
100
Table 4.2.9: Offensive and stereotypical
It is interesting to note that many people understand that cartoons are a product of
stereotypes. For example, politicians are corrupt, while one may find it stereotypical
and wrong, it is often true.A possible reason for why people believe that political
cartoons are not offensive is because a cartoon is a piece of humour often not intended
to hurt or be malicious. The cartoons are also not really governed by laws why clearly
specifies what is and is not offensive. Thus making the choice subjective.
37
4.2.10R K Laxman’s common man caricature
R K Laxman's common man
6%
3%
Realistic
25%
Slapstick
Silly and irrelavant
Exaggerated
66%
Graph 4.2.10: R K Laxman’s common man.
RK Laxman‘s common
Respondents
Percentage
Realistic
43
66
Slapstick
16
25
Silly and Irrelevant
4
6
Exaggerated
2
3
Total
65
100
man
Table 4.2.10: R K Laxman’s common man.
R K Laxman is a social cartoonist, who makes commentary on the lives of the millions
of Indians who live in challenging times politically, socially, economically. Laxman
was known to almost accurately bring to life the problems of the common man,
Laxmans readers have found him to be realistic, however a casual reader may see it as
slapstick, this could be because the common man is witnessing bizarre events that
have no logical explanations. Laxman‘s followers understand that this is to bring to
notice the problems and not merely humour. Other than that, the majority of the
population 4 respondents found it silly while 2 found it exaggerated.
38
4.2.11 Impact of space relevance to importance
Impact of space
0%
Agree
34%
Disagree
63%
Space is not
important, content
3%
Graph 4.2.11: Impact of space.
Impact of space
Respondents
Percentage
Agree
41
63
Disagree
2
3
Space is not important,
22
34
65
100
content is
Total
Table 4.2.11: Impact of space.
In the question ―the space occupied is less but the impact of a cartoon is more‖ the
respondents seem to believe it to be true, the cartoons in any daily are in ablind spot,
if a newspaper reader looks for a specific cartoon means that he/she has interest in the
same. Political cartoons or any cartoons are known to take up little space on the
newspaper , this being said in no way makes it any less effective, it may even as much
as a create a revolution. 34% of the people believe that the space is not a criteria, the
impact is what counts. Cartoons should irrespective of their space have an impact,In
case of the cartoons content that is the king.
39
4.2.12 Change of opinion due to the Prophet controversy
Muhammed Cartoon controversy
22%
Yes
No
78%
Graph 4.2.12 Muhammad cartoon controversy
Changed Perspective
Respondents
Percentage
Yes
14
22
No
51
78
Total
65
100
Table 4.2.12 Muhammad cartoon controversy
When asked if the JyllandsPosten Cartoon had any impact on how they viewed
cartoons, if their perspective of cartooning had changed. The respondents said that the
cartoons of the Prophet were definitely offensive but more importantly they in no way
change how they viewed cartoons. Many believe that it was one off incident and is no
indicator of how it works otherwise. They also point out that these incidents happened
in a part of the world that is liberal to accept it. Some however feel that the laws to
not curb the freedom of the press and the lack of laws to govern content such as
cartoons do bring down their respect for the same.
40
4.2.13 Editorials can be equally unbiased
Editorials are equally unbiased
0% 0%
29%
Yes
No
71%
Graph 4.2.13: Unbiased editorials
Impact of space
Respondents
Percentage
Yes
19
29
No
46
71
Total
65
100
Table 4.2.13 Unbiased editorials
In the last question, when asked if they saw editorials as equally unbiased. The
respondents believed that the editorials are biased and can never be as unbiased as a
cartoon. There is a chance that the respondents believe that since cartoons are
humorous they don‘t need to be biased. Editorials are sharp and are worded in ways to
provide a point of view. It can be justified for a editorial to have a point of view
based on the political alignment of the newspaper.
41
4.3 Findings :
1
The researcher is able to conclusively say that cartoons are important to
newspapers. In opposition to the idea that cartoons are harmless and merely
visual banter.
2
Irrespective of gender, people connect to cartoons. This may be with respect to
the fact that they are realistic, simplistic, and relatable.
3
People are comfortable with the idea of cartoons making sarcastic remarks that
at times may even be offensive.
4
The 65 respondents are from diverse backgrounds and yet find a common
ground to connect upon. Political cartoons make sense to all the respondents
who seem to understand the concept behind cartooning.
5
With a balanced sample, the researcher can point out that immaterial of the
gender cartoons have a reach to people. It does not take an exceptional
understanding of politics but just awareness.
6
The readers are aware of the stereotyping and dangers of reading cartoons too,
they seem to agree that stereotyping is common, except that they seem to
believe as long as the
7
As a visual medium, audiences are aware that space is important, they also
show an inclination towards the fact that the effectiveness of a cartoon is
independent of the space it takes up.
8
Religion is issue with many, although the readers have not changed their
opinion about all cartoonists, their answers seemed to indicate that the Jyllands
Posten incident was wrong and pushed the freedom of expression too far, yet
people were willing to make an exception.
9
Respondents seem to be more comfortable in accepting that cartoons are
unbiased and fair. Even though cartoons are a point of view like editorials but
respondents, choose cartoons.
10 As expected, most respondents think of the common man to be realistic,
although many feel otherwise a strong feeling about the common man and
reality is sufficient to establish that cartoons are simple yet connect to complex
problems.
42
11 The respondents are also of the opinion that they connect to cartoons rather
than editorial pages because edit pages are heavy and often difficult to
understand.
12 A relationship can be established between the reader of political cartoons and
those who believe they are important. The respondents who said they read
cartoons are also the respondents who believe they are important.
43
CHAPTER 5
CONCLUSION:
The researcher has examined cartoons and concluded that cartoons, as the original
hypothesis suggested indispensible to the newspapers. The dissertation that was
compiled over a period of 3 months indicated a wide variety of instances and opinions
to make the case for the importance. The researcher firstly analyzed what cartoons
are, this after following cartoonist R K Laxman. The cartoons chosen for
understanding are simplistic and yet powerful. The power of the cartoons is only
being unleashed upon its readers.
It is not often that an art form is able to make its presence felt academically,
culturally. Socially and economically. For many year now people have been witness
to cartoons, many even begin their day with the common man. For nearly 6 decades
R K Laxman has done outstanding work. Critics and fans have been appreciative of
his work and have patronized him through these years.
Although small, cartoons have a place in each of our minds; the visual impact is too
great to miss. A large fiery editorial is forgotten as an opinion, but not cartoons. These
cartoons have scripted new courses in history as to the legends they have become.
In conclusion the researcher finds that the editorials and cartoons are not a
comparison, the mediums are opinion pieces but of very different kinds. People have
found more to connect with in cartoons than editorials. Mostly because the target
audience for cartoons is much less appreciative of complex text as they may fail to
understand the purpose of it, or even assume that the editorials are biased.
44
The researcher has been able to gauge the general mood of the audience as well
informed yet not rigid, the answers provided by the respondents seemed open to
discussion, where open ended questions were a supported by a rational point of view
and not simply to state opinions. The researcher believes that the impact of cartoons
in widespread on our lives and how we use them in our conversations, in our dealings
even in the beliefs we have. Cartoons have over the years helped establish and sustain
our attention to political satire and look at the lighter side of thing without reducing it
to a laughing matter. For something that has survived over 200 years is definitely
important. As an opinion, as satire or even as a art form cartoons are definitely staying
on the front pages and editorial pages of newspapers.
5.2 Limitations of the Study
1
The study conducted is lack of research experience on the researcher‘s part.
2
Lack of funds to conduct high profile interviews and use large sample sizes,
coders and content analyzers.
3
Lack of time to learn and execute the initial idea may have limited the scope
of the study.
5.3 Suggestions for further study
The research above is a small effort to compile the researchers understanding of the
importance of cartoons, one may take this study to use as reference to understand
opinions.
The research will also help further studies by facilitating by suggesting psychological
and sociological implications of cartoons.
A larger sample size can also be used to approve or disapprove the hypothesis.
45
REFERENCES AND BIBLOGRAPHY
CNN IBN. Six decades of RK Laxman and his 'Common Man'. NA, 25 Nov 2011.
"DNA india." 18 Nov 2011. DNA INDIA website. 19 Nov 2011
<http://www.dnaindia.com/mumbai/report_rk-laxman-s-cartoons-to-come-alive-ontv_1614148>.
Encarta Microsoft. "History of the cartoon." NA NA 2004. ccbg.org.uk. 23 July 2011
<http://www.ccgb.org.uk/Pages/history_of_the_cartoon.html>.
Ganeshan, Mr Ulagnathan. Importance of political Cartoons, editors perspective
Meghana Lawate. 16 Nov 2011.
Indian Caricatures. "Cartoons and Caricatures :Indian cartoonists." NA NA NA.
www.indiancaricatures.com. 25 Oct 2010
<http://www.indiancaricature.com/modules/cartoons/public-album.php?id=51>.
Jonathan, Burack. "teaching materials." NA NA 2000. teachinghistory.org. 24 July
2011 <http://teachinghistory.org/teaching-materials/teaching-guides/21733>.
Krista, Lagus. Pagination. NA NA NA. 25 July 2011
<http://users.ics.tkk.fi/krista/personal/dippa/node10.html>.
Books: The common man seeks Justice.
Laxman, R K. The Common Man seeks justice. Noida: Penguin Books India, 2003.
Navasky, Victor S. "Why Political Cartoons are Incendiary?" 13 Nov 2011.
www.nytimes.com. 16 Nov 2011
<http://www.nytimes.com/2011/11/13/opinion/sunday/why-are-political-cartoonsincendiary.html>.
Ted, Goertzel. "Gulf war as a mental disorder." Political Psychology (1993): 711-723.
Thomson, Katherine. www.editorsblog.org. 6 Aug 2008. 11 Nov 2011
<http://www.editorsweblog.org/newspaper/2008/08/opinion_the_importance_of_visu
al_briefs.php>.
Virginia edu. "A Brief History of Political Cartoons." NA NA NA. Virginia Edu. July
23 2011 <http://xroads.virginia.edu/~ma96/puck/part1.html>.
Wikimedia Foundation.Inc. Jyllands Posten Muhamud Cartoon controversy. 23 July
2011. 27 July 2011 <http://en.wikipedia.org/wiki/JyllandsPosten_Muhammad_cartoons_controversy>.
46
APPENDICES
47
Appendix 1
Questionnaire
Dear Respondent,
Hi, This Is MeghanaLawate of 2nd M S in Communication at Christ university,
Bangalore as a part of my final year dissertation I have to submit an original thesis.
Please fill in this questionnaire to help collect data for research.The topic of research
is Effectiveness of Political Cartoons.' The collected data will be used for academic
purposes only. The data you provide is confidential, kindly provide accurate data .
Name:
Age:
Sex : Male/Female
 Below 20
 20-30
 30-40
 40-50
 50 and above
Do you understand the idea of a political cartoon?
Yes
No
Do you read political cartoons?
Yes
No
Are Political cartoons integral to a newspaper?
Yes
No
Political cartoons are according to you
Silly and irrelavant
Vital for newspaper
Important, but lesser than editorials
When compared to an edit page and political cartoons, which do you connect more
to?
Edit page
Cartoons
48
Political cartoons are unbiased
Yes
No
Political cartoons are offensive and caricatures use stereotypes that misrepresent
people.
Yes
No
If yes, why?
__________________________________________________________________
R.K Laxman and his portrayal of the common man is
Realistic
Slapstick
Silly and amature
Exaggerated
Space occupied by a cartoon is small yet effective.
Agree
Disagree
The space does not matter, The content does
The Muhammed cartoon by Jyllands Posten was offensive and considered anti
religious. It led to furore in not just Islamic countries but all over the world. Does this
situation change your opinion of political cartoons?
Yes
No
State the reason for your choice
__________________________________________________________________
__________________________________________________________________
Do you think editorials are as unbiased as Political cartoons?
Yes
No
Please state you reason for your choice
49
Appendix 2 :CNN –IBN News Capsule
Appendix 2: A screenshot of the programme showing RK Laxman’s cartoons. 2.7(TV Shows)
Appendix 2.1 : Renowned cartoonists expressing their views about R K Laxman’s work.
50
Appendix 3 :New York times article
Appendix 3: Article by Victor Navasky on “why are political cartoons incendiary”
51
Appendix 4: Pocket cartoons by R K Laxman
5.1: Above A satirical statement about the lack of amenities
5.2 Americanisation of the common man
5.3 A dig at the rich politicians and their families .
52