A CONTENT ANALYSIS OF CARTOONS IN NIGERIAN DAILIES
A RESEARCH PROJECT SUBMITTED TO THE DEPARTMENT OF MASS COMMUNICATION, IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF MASTER OF SCIENCE
(MSC.)
PAGES: 105
AbstractThis work content-analyzed Cartoons in Nigerian dailies. Its central objective is hooked on the measurement of efficiency in deployment of cartoons as a tool of communication. Due to the dearth of literature in this area, this study will prove an inhalable asset to other researchers and also place media house in the right pedestal to assess how well this potent weapon has been employed. Cartoon focuses on one out of two or many news events. The even focused on automatically enjoys more prominence and becomes ‘agenda’ for public discourse (Okunna, 1999 p.42). Agenda setting theory therefore forms the theoretical framework of this study. Analyses were guided by a number of research questions centered on frequency of feature, slant, type, origination and subject-content of the cartoons. Findings on the frequency at which cartoons were featured were not wholly encouraging. The case of This Day was particularly alarming. On slant, a large percentage adopted negative parlance towards their subjects. Results on the placement showed that many Nigerian dailies hardly place their cartoons on the front and back pages. Discovery also showed that the subject contents were largely social than political and economic. All cartons were domesticated. With the above findings the strength and weaknesses of cartooning in Nigeria became glaring enough. For
improvement, balanced development was recommended. Attachment of greater importance to the art of cartooning as a course in Mass Communication Department and organization of workshops by NUJ will also go a long way in sharpening the interest of many people in the art.
TABLE OF CONTENTSTitle page…………………………………………………………………….i Dedication …………………………………………………………………..ii Approval page……………………………………………………………….iii Acknowledgements…………………………………………………..…...iv Table of contents……………………………………………….…………..v Abstract ………………………………………………………………..……viList of tables……………………………………………………………….vii
CHAPTER ONE:INTRODUCTION…………………………………....11.1 Background of study
………………………………………….16 1.2 Statement of the
problem………………………………………16 1.3 Purpose of the
study…………………………………………...17 1.4 Objectives of the
study………………………………………..…17
1.5 Research questions……………………………………………….18
1.6 Significance of the study……………………………………….18
1.7 Scope of the study…………………………………………………18
1.8 Limitations of the study…………………………………………19
1.9 Definition of terms………………………………………………..19
CHAPTER TWO: REVIEW OF LITERATURE……………..….20 2.1 Theoretical
background………………………………….20 2.2 Empirical background of
study………………………….21
2.3 Criticism on Cartoon…………………………………..….24 2.4 The potency of cartoon as a tool of
communication.26
CHAPTER THREE:. METHODOLOGY/RESEARCH DESIGN……………………………………………………………..313.1 Introduction………………………………………………….31 3.2 Population of study………………………………………..31 3.3 Sampling technique…………………………………………31 3.4 Sampled newspaper issues…………………………….33 3.5 Content study
category…………………………………….34 3.6 Instrument for data collection…………………………36
CHAPTER FOUR: DATA PRESENTATION AND ANALYSIS………….374.1 Data presentation and analysis…………………………37
CHAPTER FIVE: SUMMARY, CONCLUSION AND RECOMMENDATIONS…………………………………………..465.1 Summary……………………………………………… …...46 5.2 Conclusion…………………………………………………..47 5.3 Recommendations……………………………………...51 Reference ……………………………………………………………53 Appendixes……………………………………………………….57 Cartoon specimen……………………………………………….64
LIST OF TABLESTable 1: Percentage Distribution of Cartoons Published in
the Studied Newspaper.Table 2: Percentage Distribution of Slant of Various
Cartoons published in the Studied NewspaperTable 3: Percentage Distribution of Placement of Various
Cartoons Published in the Studied NewspaperTable 4: Percentage Distribution of types of various
Cartons Published in the Studied Newspaper.Table 5: Percentage Distribution of the Origination of
Cartoons Published in the Studied Newspaper.Table 6: Percentage Distribution of Subject Content of
various Cartoons Published in the StudiedNewspapers.
CHAPTER ONE
INTRODUCTION
1.1 BACKGROUND STUDY
Cartoon certainly ranks among the oldest core content of
mass media of communication. It is obvious; however,
that this vital content of mass media has received minimal
research attention and or critical analysis in professional
journals, series, books e.t.c. this oversight is actually what
has sparked off the desire for this study.
Cartoon (Italian word, ‘cartone’ meaning paper) was
originally a sketch for a large canvas or fresco painting for
architectural drawings, for tapestry design or for pictures
in mosaic or glass (Lynch, 1972). Cartoon acquired its
present meaning in 1843 when a great exhibition was
organized by Prince Albert (Queen Victoria’s consort) to
get designs for the walls of the new House of Parliament.
Many of the entries, though lofty in intention, were
ridiculous. The later reflected in John Leech drawings
which were the first
Cartoon’ in that sense of the word to be so called (Wright,
1986, p. 131).
At present, cartoon has no doubt become an
indispensable part of modern journalism . Gonick (1987, p.
137) sees it as a humorous representation or symbolic
drawings that entertain, teach or enlighten. The
implication is that a cartoon is a valuable mass media
content which strikes readers’ visual and intellectual cord
while stimulating laughter simultaneously. Nze (1989)
noted that carton is applied to a pictorial sketch, usually
of humorous or satiric nature published in a magazine,
journal or daily.
The word Book Encyclopedia (1994, p.263) is
simplistic and straightforward in its own definition:
Cartoon is a drawing or series of drawing which tells a
story or expresses a message that entertain teaches or
enlightens.’ Ifedayo Daramora (2003, p.148) is a bit more
elaborate in his definition: ‘A Cartoon is a humorous
drawing that
induces laughter by their humorous, satirical remarks of
interest in the news that is current event.’
Furthermore, the definition of cartoon by a Encyclopedia
Britannica (2004, p. 728) seems to be most
comprehensive: ‘A Cartoon is a drawing representational
or symbolic that makes satirical, witty or humorous point.
It may or may not have a caption and may comprise more
than one panel.’
One point to appreciate in the above definitions is
that none omitted the fact that Cartoon is a drawing
meant to communicate ideas(s). In other words, Cartoon
can be referred to as a wise, satirical or humorous
drawing (representational or symbolic) expressed in one
or more panels, with or without words. People go into
newspapering for various reasons. It may be for economic
gain, political power wielding, religious moderation or for
revolutionary agitation. However the principal objective of
the newspaper is to educate, inform and as well entertain.
The newspaper has to perform the role of social-
political controlling of the society. As such, the
management of the newspaper must recognize this and
so co-ordinate the different departments to work
interdependently so as to fulfill its socio-political mission,
while also achieving its profit goals. Thus no matter the
financial maximization involved, a newspaper firm must
never relegate its social responsibilities to the background
(Nwosu, 1995).
The press is being universally described as the
watchdog of the society’ more so fourth estate of realm’.
This hinges on the fact that it does not only project the
yearnings and aspirations of the people to the
government, but also holds a constant threat of exposure
over the government should they abuse public office. The
newspaper medium performs this function of the press
very effectively. Apart from that it also has the advantage
of providing a platform for eliciting views and opinions for
readers to draw inference from. This sets agenda for
readers.
Let us note here that it was in 1800’s that many
conditions seemed ripe for the arrival of this new form of
communication that was neither merely literary nor
merely graphic art. New and more advanced printing
presses were then allowing newspapers to print more
copies better and faster, making it possible to easily reach
an ever increasing public. Also at the time the enormous
influx of new immigrants from eastern and southern
Europe, with little or no knowledge of English Language,
gave the medium of visual communication a teeming and
steady audience. Competition among newspaper media
organs worked to the advantage of the cartoonist that had
a style that was recognizable at first glance. Cartoonists
were known for having characters in their cartoon to
range from fantasy to reality and such were used to shape
readers’ opinion. However the potency of Cartoon is
largely dependent on the level of iconicity, that is, the
degree of likeness and non-likeness of Cartoonist image to
actuality. Tejumola (2000,
p.2) who has conducted a research in this area was quit
effusive in his explanation. He noted that although
Cartoon was defined by some distance to actuality,
Cartoon could not disregard actuality entirely because it is
highly dependent on viewers identification, more so than
the other graphic art. He went further to say that
embodied in Cartooning was this simultaneously a
prescriptive and proscriptive in which to be more iconic
(realistic) was to lose its catoonist essence. To turn the
other way round and less iconic (abstract) was to lose its
referential power and consequently its audience and
function. In conclusion, he stated that a Cartoon strictly
speaking could not exist in either end of the spectrum.
Speaking on another aspect, Cartoon go with words
to make a complete text. Words and pictures go hand in
hand to covey an idea that neither could convey alone
( MacCloud, 1993 Gombrich, 1963) However it is
imperative to note that thee are many good Cartoons that
do not go
with words at all. Almost always these are many good
cartoons are also ‘action Cartoon’, that is, the images
suggest, or are in some degree of motion or drama. The
less emphasis on picture frees the picture to be more
daring and exploratory in especially one major way: to
aim for completeness and independence from words,
which is always a great technical challenge (Mitchell,
1994). Olaniyan (2002) posits that all picture-driven
Cartoons are fully keeping in line with the popular
conception of Cartoon as primarily a visual art: and to give
primacy to visual over the verbal is to privilege the more
mass-oriented and easily accessible of the two languages.
Okafor (1992) also observes that Cartoons are
essentially pictorial and the expression of which is blown
out of proportion so as to evoke striking humuor or
amusement while retaining the satiric flavor.
Cartoon is four types: Gag, Comic strips, advertising
and illustrative Cartoons and political or editorial Cartoon
(The World Book Encyclopedia 1994, p 246). Gag is one
panel drawing usually published in newspapers and
magazines. It is often used by the Cartoonists to mock the
advertisement of some controversial products such as
cigarette, alcoholic drinks, psychedelic drugs etc.
Cartoonists occasionally use gag to content on socio-
political affairs.
Comic strips are a group of Cartoons in a narrative
sequence. This type of Cartoon usually chronicles the lives
of reoccurring characters (hero or heroine) until the story
is probably brought to a logical end. A number of panels
are usually employed in this type of Cartoon. Black and
Bryant (1995) believe that comics do not find general
appeal among the audience. They serve purposely those
audience that deliberately, subjectively and collectively
expose themselves to them.
Advertising and illustrative Cartoons help to explain
stories, teaching materials or advertisement. As such,
they
are not appreciated in isolation of the story,
advertisement etc., they are meant to illustrate. Political
Cartoon centers on political events or editorial that is
newsworthy. It’s often placed on editorial page. Thus,
political Cartoon is also referred to as editorial Cartoon.
Political Cartoon happens to be not only the oldest but
also the most significant from of Cartoons (Hoff, 1976) this
basically is why it has come to be categorized as a type of
Cartoon alongside gag, comics, illustrative and advertising
Cartoons. However, it is important to note that gags,
panel Cartoons or even comics sometimes comment on
politics.
A brief history of socio-political Cartoons becomes
necessary here. Although the history of Cartoon can be
traced back to ancient Egypt where caricature have been
found on the ancient walls, what we toady call editorial or
political Cartoon started in 19th century (Maurice &Cooper, 1970, p.231) Honore Daumer (1830-1870) is
known as the father of modern Cartooning. His
astonishing
brilliance in creating biting political Cartoons was a huge
discomfort to the then leaders of France. He was not
discouraged by the prison sentence he served for his
drawings. Thus his courage fuelled the growth of political
Cartoon in France.
In London the drawings of John Leech, which have
earlier been mentioned hallmarks the emergence of
political Cartoon. Most of his drawings were published in
Punch. His political Cartoons against Napoleon III and
Nicholas I of Russia had Punch banned abroad. John
Tenniel (1820-1814), Leech,s contemporary was another
Cartoonist that contributed immensely to the
development and growth of political Cartoon in England.
In the USA, President Jackson, the Mexican war, the
rise of slavery agitation and the civil war provided the
impetus for the political Cartoons. Popular feeling about
the civil war brought the young Thomas Nast (1840-1902),
an illustrator-reporter of Leslie’ Weekly, to national
attention
with a Cartoon defending Lincoln’s policy. Later as a
graphic inventor of the Democratic donkey, the
Republican elephant, the Tarmmary tiger, and other
symbols familiar in American Cartooning, Nast showed
that the United States had a master whose imagination,
draftsmanship’ subtle portraiture and effective
composition were particularly appropriate to political
Cartoons. His most notable political, as distinct from artist
achievement, was the exposure of corruption in Tammy
Hall which culminated in the overthrow and imprisonment
of “BOSS” Tweed. His achievement as a cartoonist
inspired a number of other Cartoonists that took over from
him at his retirement (Paine, 1981).
Russian political caricature under Czar was
undistinguished, but from the beginning of revolution
1917 the Bolsheviks valued picture propaganda and made
plentiful political cartoons in window displays, in
newspaper, leaflets and posters. Although at first, there
were attempts to develop particular Soviet school of
caricature, restrictions on material of political directions
especially after 1946 were impending circumstances.
In Germany, a team of Cartoonists, Bruno Park,
Thomas Theodor, Olaf G among others that published in
simplicissimus made Munich the most interesting center
of
European caricature. The 20th century with plenty of
subject matter on international fears, scandals in high
places, and Russian-Japanese, South Africa, and Balkan
wars, German caricaturist, including C. Kuntz, Feiningger,
and Gehrte, dealt particularly hard with Queen Victoria
and her son Prince Edward.
Cartoon in the Early 20th Century
It is important to note that the invention of photography at
the end of the 19th century and, from it the development
of process printing gave still more flexibility to the
humorous artist. Also noticeable was a loosening up of
style. Long explanatory captions became progressively
shorter and the
drawings themselves-especially those of Phil may and
others- became more dynamic and far less labored.
Charles Dana Gibson had made his reputation drawing the
“Gibson Girls” in Life magazine (founded in 1883) and in
1902 Clifford Berryman, Commenting on a bear hunt by
President Theodore Roosevelt, had created the “Teddy
Bear” in the Washington Post. In 1915 AI Hirchfeld also
published his first stylish caricatures for the New York
Time.
With the launch of the New Yorker in 1925, however,
the American Cartoon began to take a new direction. This
developed in a distinctive style of irreverent humour
combined with a slick and sophisticated drawing
technique that was to have considerable influence
worldwide in the years to follow.
Cartoon at the war Time (World War II)
World War II gave rise to an enormous expansion of
Cartoon talent. On the one hand, both sides in the conflict
realized the power of the pictorial image to convey a
powerful message both to the barely literate and to those
who spoke a different language and thus used Cartoons
and caricature as part of a wider propaganda campaign
that also included cinema newsreels, posters, aerial
leafleting, and so forth. On the other hand, people need
relief from the deprivations of war, and Cartoons, as much
as music halls, concert parities, humorous films, radio
comedies and other light-hearted entertainments, were
much in demand.
One of the most influential artists on the side of the
Allies and arguably the most potent force in political
Cartoon and caricature worldwide this century- was the
New Zealander, David low, who worked in Britain for the
London Evening Standard during the conflict. Among his
poignant drawings were “Rendezvous”, attacking the
Nazi-
Soviet Pact of 1939: Hitler bows to Stalin over a dead
solider while remarking to his former enemy “The scum of
the earth, I believe “, in rely to which Stalin doffs his cap
with the words “The bloody assassin of the workers, I
presume”. At the time of the evacuation of Dunkirk, he
summed up Britain’s dogged fighting spirit in the face of
impending disaster with the famous drawing “Very Well,
Alone”, showing a young Tommy standing resolutely on
the cliffs of Dover shaking a clenched cliffs at the stormy
sea and the oncoming waves of German aircraft.
Other important political cartoonists working in
Britain at this time were Philip Zee (whose “The Price of
Petrol Has Been Increased by one Penny-Official nearly led
to the Daily Mirror being closed down by the Government),
Vicky (the German-born Hungarian, Victor Weisz), George
Whitelaw, and Leslie IIIingworth. Carl Giles (later the
creator of a long-running series of cartoons for the Daily
Express peopled by an extended family, dominated by
“Grandma”), Sidney Strube, and Joe Less concentrated
more on social issues, and Osbert Lancaster, taking his
lead from France, developed the single-column pocket
cartoon into a form hitherto virtually unknown in Britain.
In Germany, Simplicissimus and Kladderradatsch
continued until 1944 and the new Nazi papers such as Der
sturmer, Schwarzer Korps, and Der Anfriff spawned their
own artists, frequenrly anti-Semitic, such as Bogner, Flips,
and mjolnir (Hans Schweitzer). Equally gruesome in the
union of Soviet Socialist Republics were the anti-Nazi
drawings of Soviet artists such as Boris Efimov, Deni
(Victor Densiov), and the trio known as Kukryniksi (Mikhail
Kupryanov, Profiry Krylov, and Nikolay Sokolov). French
cartoonists, working either under the Vichy regime, for the
Resistance, or in exile in Britain included Jean Sennep,
and Albert Dubout. In Australasia there was powerful
political commentary by Gordon Minhinnick, H.B.
Armstrong, and others.
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