American Political and Editorial Cartooning

Cartoon published in the News & Observer, 15 Dec. 2000. Posted with permission of the author, Dwane Powell, Raleigh, N.C.

Warning! A research topic such as political and editorial cartooning can be dangerous to your preconceived viewpoint. If you who want to avoid consideration of new ideas or lack interest or time to browse in the many areas where materials can be found, pick another topic. Now!

 But, if you are ready to grin, smile or laugh out loud while you research what can be a fun topic, then this pathfinder can save you time and reduce your frustration.

“A political cartoon is worth looking at just because it is enjoyable to stick pins into fools and villains or to watch others doing it,” said Charles Press, author of a book recommended in the introduction/history section. Press added that his classification of “political” requires the cartoon to attempt to influence the reader. While the message seeks action on a social question, Press said the solution to the problem must somehow involve “putting lighted matches under politicians and getting them off their duffs.”

 Just as a politician must get off his duff, so must you to define (and redefine) the scope of your research. Since most political and editorial cartoons published in newspapers and magazines are not indexed for retrieval--to learn why, see “Indexing Editorial Cartoons”--printed or online collections will mesmerize you into disregard for the more scholarly and useful works. Beware of collections labeled “chiefly illustrated.” Many lack introductions, author’s prefaces and tables of contents. Most lack indexes.

 There is an extremely broad range of materials out there. Some may seem like they are only published for entertainment purposes, but don’t be fooled. The periodicals section will show the range of coverage about editorial and political cartoons. So, not to sound like a broken record, but please use this pathfinder to narrow the scope of your study as early as you can.

Library of Congress Subject Headings

As you narrow your topic, reread all the “Search also notes” provided in any online catalog. Materials were selected from over 100 different citations retrieved from permutations of these LOC subject headings: 

American wit and humor, Pictorial.

American wit and humor--United States--Politics and government.

(Author’s name, such as Trudeau, G. B., for author of Doonesbury strip.)

Caricatures and cartoons--United States.

Cartoons.

Cartoonists.

Editorial cartoons.

Editorial cartoonists.

(Name of president)--Caricatures and cartoons.

Political cartoons.

Political cartoon--History.

Political cartoons--United States.

United States--Politics and government--Caricatures and cartoons.

World politics--Caricatures and cartoons.

Browsing Areas by Call Number

Call numbers were scattered throughout the two libraries used at the University of North Carolina at Chapel Hill. Most resources were available at the Davis Library but some were only available from the House Undergraduate Library. Noncirculating books in the Reference department at Davis or within the North Carolina Collection were available from the D. H. Hill Library at North Carolina State University. Here is a list of the main browsing areas for books at the Davis Library at UNC-CH:

Floor 4: E 176, E 178, E 183, E 184, E 884, E 885

Floor 6: NC 1420, NC 1429

Floor 7: PN 6710, PN 6724, PN 6725, PN 6728

Hints for Online Searches

Because of the variety of access points, there is a high probability you will retrieve every written editorial, letter to the editor and cartoon caption from an online search.  Check the help screens to determine which terms your system recognizes. This strategy worked for me with the online catalogs and database searches for periodicals.

(((kw: political OR kw: editorial)) and kw: cartoon) not ((kw: television OR kw: TV)) and …

 Select limiters based on year of publication, language, complexity of citation (depending on database) and availability of primary source in your library.

Introduction, History and Scholarly Research

Although other electronic references are listed in another category, here is a link to the story on Political Cartoonists aired on National Public Radio’s Morning Edition October 25, 2000. If you have capabilities for audio, click on the audio button to listen to NPR’s Renee Montagne interview Mike Lukovich, of the Atlanta Journal Constitution, and Mike Peters, of the Dayton Daily News.

Books to consult (best listed first)

Davis Reference—E183.3.S66; Hill Library—Z5956.C3 S66

(For brevity, all pathfinder references to this book are noted as Somers, and if appropriate, page number cited in parenthesis.)    

    For someone beginning research and wanting to narrow their topic, this book provides a myriad of options. In the first chapter on historical background, the year 1747 is identified as the birth of the American editorial cartoon. Its development is examined by the rise of the republic’s symbols, first notable cartoonists and the publications their works appeared in. During World War II, cartoons were “predictably patriotic” but Bill Mauldin’s work is reported to have provided a contrast to the patriotic propaganda. The “big four” in the field are identified as Mauldin, Herbert Block (Herblock), Paul Conrad, and Patrick Oliphant. A litmus test of the “new wave” cartoonists was their opposition to the Vietnam War. Defying classification as liberal or conservative, one cartoonist said, “I don’t really want to be a bumper-sticker orator. … I’m more interested in keeping the debate alive than in crusading for a certain ideology.” A chapter on history and criticism includes brief book reviews. The comprehensive index allowed most inquiries about cartoonists and their subjects to be answered easily.

Davis and UL—NC1763.P66 P73

    Should be one of the first resources consulted because of its succinct definition of the political cartoon, criteria for what makes a good one and identification of problems with collection and indexing, all within the first chapter. Although entirely set in tiny type, the remaining 12 chapters, 250 cartoons set within the text, notes at end of book with references by chapter, bibliography, and well-formatted index made up for this perceived fault. Noting Press’s political scientist’s point of view, Somers’ (p46-7) points out deliberate exclusion of one of the “big four” because of Paul Conrad’s lack of subtlety. Otherwise compliments the work for filling in background omitted by other studies. Roger A. Fisher notes in an essay on sources for Them Damn Pictures that this work is “a difficult read and often argumentative, but intellectually impressive in analysis and generally persuasive.”  

D.H. Hill Library--NC 1425 H47

    Balances text with graphics so the researcher has multiple examples without being inundated with lengthy written explanations. Index is set in two-point type but provides plenty of categories and subcategories so most everything is easy to find. Somers notes that chapters are organized thematically, rather than according to the technology of printing as was the case with the 1968 and 1975 editions of the Ungentlemanly Art by Hess. Its lack of footnotes makes it difficult to track down direct quotes from secondary sources.

Hill library--NC1425.F57

      “Stop them damned pictures,” Boss Tweed of Tammany Hall is said to have urged his lieutenants after viewing Thomas Nast’s cartoon “Who Stole the People’s Money” explaining, “I don’t care so much what the papers say about me. My constituents can’t read. But, damn it, they can see pictures!” Somers’ review (p47) notes that Fischer faults earlier scholars, himself included, for taking too seriously the profession’s paid practitioners. Fischer analyzes the evolution of visual symbolism with the intent “to raise questions in need of further scrutiny rather than to provide definitive answers.” The impact of cultural references away from classical “high” culture to a popular culture increasingly drawn from movies and television is also explored.

Davis—NC1325.G44

    Good coverage of historical development. Chronology at end is particularly helpful in combination with other books that lack such a list.

Davis--E178.4.J6

      Book’s subtitle, “American life since the first World War as reflected in Pulitzer Prize Cartoons” is covered in 35 chapters named corresponding to each cartoon awarded the prize from 1922 through 1958. (No prize was awarded in 1923 or 1936.) Cartoonists are briefly profiled but more attention given to how each panel cartoon reflects on the prize, concurrent time period and events. Introduction and final remarks provide history and analysis on political cartooning through 1958.

Davis--E880.E39

    The dominant issue depicted in political cartoons during the 1988 presidential campaign was character of the candidate and his readiness for leadership. Study of political cartoons from the time period showed minimal coverage of issues and justification for further study on the implications of the cartoonist’s role in framing political reality. Six chapters provide thought-provoking examples on the issues. Footnotes follow each chapter of what is a well-reworked enlargement of the author’s Ph.D. thesis. An appendix, bibliography and index provide access to more scholarly sources in the communication field and references to individual artists. Sixteen cartoons are well-chosen for the issues examined and ability to entice reading what could have been tempting to skim.

Encyclopedias and Dictionaries

Good coverage of the topic can be found in generic encyclopedias and dictionaries, but these resources provide more details than other works.

Hill library--Z5956 C6 R68

Davis Reference—PN6714 .R68

    Pages 231-232 provide a glossary of comic book terminology.

UL and Davis—PN6710.M335 (UL has 1993 paperback edition and Davis the 1994 hard cover edition.) 

    Written and illustrated in comic strip style, the book is appropriate for an audience ranging from artists considering a career moves to scholarly researchers who need a refresher on the principles behind graphic images. Bibliographic references are included.

Davis—NC1325.H63

    As the subtitle promises, this reference covers the waterfront but falls short in its ability to provide a researcher much more than pairing up who of the 165 artists works where and with what materials. Somers notes in a review (p100) that although unscholarly, it is a better resource that earlier published works.

Bibliographies

Although the book by Somers was sometimes classified as a bibliography, this title was the only purely bibliographic reference found.

Davis—NC1420.A6

     Although less useful because of advancing age, Chapter 8 on political cartoons in the U.S. provides over 1100 entries organized by general studies, historical aspects, cartoonists and their works in general and 100 alphabetical by-artist entries, anthologies, and legal and technical aspects. A thorough read of the introduction and preface as well as review of the chapter subsections will assist a researcher when narrowing their topic. Somers praises the work but notes in his review that there are some unverifiable entries. When consulting the book to find bibliographic details, it was confusing to have a separate index “by author” and “by subject.” The problem is further compounded if one wants to find a biographic reference since it may be listed under the category of “cartooning personnel” in the subject index.

Indexes

The challenges of indexing editorial cartoons are explained in the following article:

For more details on finding articles, click here to jump to Periodicals section.

Click here to jump to Hints for Online Searches.

Two printed works were selected for this pathfinder:

Davis—PN6728.D65 T937

    Beginning with October 26, 1970, Garry Trudeau’s Doonesbury comic strips are indexed by subject, event, issue and public figures. Author also indexed the strips by character to provide access to their characteristics, relationships with other characters and to actual subjects and events. Preface notes that a high level of analysis and interpretation was not the goal. Guide on how to use the index is succinct but adequate for the myriad of access points. It would be an interesting study to compare the access points of this printed index to what could be found through the Doonesbury Web site, although there is unlikely an overlap in periods of coverage.

Davis—NC1428.N473 U88

    Introduction illuminates the joy of studying cartoons for any purpose but justifies why indexing is essential to serve humorists, social scientists and etymologists for reference purposes and for individuals or professions for procurement of that special zinger. From her mental index of cartoons through formal training in indexing, the author justifies the process and sort categories that resulted in a useful published work. Although the New Yorker is not limited to publishing political cartoons, as a test of accessibility is to look up keywords from the roots of words such as  “politic” and “president.” Some 400 graphic opinions are given in these categories and access to even more if the name of a politician is used.

Although not a stand-alone index, the access to editorial cartoons corresponding with publication date and issue deserves mention:

Davis--D442.W5

    In its 1496 pages, the work includes an index of written editorials and a two-page index on related cartoons subdivided by state, city and newspaper title.

Government Documents

An online search of the Library of Congress database primarily yielded Herblock cartoons, individually indexed. These works were not available in the UNC-CH library, however, the document explaining how such material is submitted was found through a search of the online card catalog.

Davis REF Federal Documents--LC 3.4/2:44/999-2  

    Circular 44 on Cartoons and Comic Strips provides instructions and requirements for copyright protection of cartoons as literary and artistic works. Also available as a PDF file through this link:

    Although just as appropriate for a biographical category, this publication and an article on Herblock (Herbert Block) are available through government documents in hard copy at the UNC-CH Davis and School of Information and Library Science libraries and online:  

www.loc.gov/loc/lcib/0010/herblock.html

Exhibition Catalogs

While rarely a substitute for attending an event in person, publications produced to commemorate an exhibition of cartoons include essays to justify inclusion of materials, provide insight into how they are procured, and the relationship to the exhibition’s chosen theme.  

UL—E176.1.A655

    Originally published by the University Art Museum, Berkeley as a catalogue accompanying the exhibition The American Presidency in political cartoons: 1776-1976, January 13-February 22, 1976.

    The first page appropriately quotes Ralph Waldo Emerson. “Caricatures are often the truest history of the times.”

    A 10-page preface by Selz and 17-page article by Blaisdell titled “The Changing Presidency” explore the topic of presidential caricatures for audiences with art, politics or history interests. The book’s format makes it easy to skip over these articles and move to the 116 two-page spreads of explanatory text on the even number pages and cartoons on the facing odd pages. If the reader chose to skip the articles, the development of how presidential powers varied would not be as easily understood.

     Somers (p52) classifies the work as an abbreviated bibliography and exhibition catalog, which lists the original place of appearance and present location of the cartoon’s original, when known.

Davis--E183.B854

    Exhibition held June 14, 1991 to Aug. 31, 1992, at the National Archives commemorating the 200^th anniversary of the Bill of Rights.

    To select only 130 from the 1800 cartoons and other works of political art displayed at the exhibition commemorating the 200th anniversary of the Bill of Rights in 1991 must have been an incredible challenge. However, Stacey Bredhoff, author and exhibition curator, and Don W. Wilson, Archivist of the United States, compiled a book that successfully shows the importance of freedom of speech and the press to historical and contemporary American society. A particularly important inclusion is the text of the First Amendment in the front matter. William R. Linneman, reviewer, complimented its thematic arrangement that can serve as a model for other books of political cartoons. Linneman and Somers praised its strength in sampling a wide variety of cartoons, some from smaller, regional newspapers and both well-known and not so well known artists. The book’s greatest weakness is said to be its lack of historical depth because only six pre-1920 cartoons are included and five of those are by Thomas Nast. A checklist section provides additional information on the works by their order of display at the exhibition but is of no help as an index. 

Davis—E184.A1 F48

    The catalog from the 1992 Festival of Cartoon Art seeks to promote understanding and appreciation of cartooning through the fourth scholarly exhibition at the Ohio State University Libraries, a triennial event. Justification on the topical focus is given in an overview of ethnic images in American cartoon art through an illustrated essay, Ethnicity in Cartoon Art. Written by John J. Appel, adjunct curator, Folk Arts, Michigan State University, and emeritus professor of American Thought and Language, the work has its own reference list but lacks an index. A smaller section of the catalog provides brief analysis of the contents in the exhibit and provides citations of the items on display. Five cartoons are reproduced in this section but it is apparent that one had to be in attendance to appreciate the entire compilation.  A biographical sketch is given of Oliver Harrington, an African American cartoonist, prior to citations of his political caricatures featured in the festival. Only three cartoons are featured in this section. A bibliography references some 60 sources, most very specific to the topic of ethnicity and humor rather than to cartooning.

Alternative and Underground Comics (Multiple Source types)

Because of the results of searching using the variety of terms, it is appropriate to be aware of political and editorial cartoonists and works classified as alternative and its subset, underground. Alternative means works are published by nonmainstream publishers, generally to reduce obligations between artist and shareholders. Underground comics, also called comix, ignore the Comics Code (defined in glossary within Rothschild reference), and often depict sex and drug use and are intended to shock audiences with their frankness.

Davis--Folio PN6714.D313

Translated by Hester and Marianne Velmans from original text Beelden Storm: De Ontwikkeling van de Politieke Strip first published by Van Gennep, Amsterdam, 1976.

    This is an excellent source on the nonconformity in political art. The books’ usefulness is limited by its lack of index. Although with graphics throughout that make a cover-to-cover read enticing, a researcher with very complex information needs would probably be the only user with enough patience to do so.

Davis—E885.T647

This is the fourth biennial edition by the author of the weekly alternative strip “This Modern World.” Among three endorsements on the back cover, Creative Loafing magazine says the cartoonist “takes wide, powerful swipes at our conspicuous consumerism, at the way mainstream media distort events, and at how we all…let the media interpret reality for us.” Somers classifies Dan Perkins among underground and alternative artists who have rejected or ignored the social and political system but by doing so, are not restricted by corporate publishers and editors whose financial concerns lessen reader and sponsor alienation.

Performer: Robert Crumb, Other authors: David Lynch and Terry Zwigoff.

UL Nonprint--65V5362.

    From the description of the content on video box, one could be enticed to watch a cartoonist’s biography rather than read it. “A hilarious and mysterious journey through artistic genius and sexual obsession, Crumb is a wild ride through the mind of Robert Crumb, creator of Zap Comix, Mr. Natural and Fritz the Cat.”

    Mysterious? Yes. Hilarious? No.

      Watch this film if research topic includes underground cartooning and, better yet, if the Penguin Book of Political Comics by Steef Davidson is read first. Otherwise, viewed without context, one could conclude that creative success requires living in an extremely dysfunctional family and that the only remedy is through one creative outlet—bizarre drawings.

Davis--PN6738.I45 B4

    No introduction or TOC, however, cartoons are paginated beginning on p5-160. Style varies from panel to two strips per page. Each cartoon has year of copyright year but no other date. Front cover features caricatures of Captain Condom (in pink) dancing on a stage with four sidekicks, part of a government campaign in the UK to fight AIDS. Back cover includes caricatures of Margaret Thatcher, Ronald Reagan, and seven other heads with varying expressions (mostly pained) in the background, all nine with pink condoms stretched over their heads. Text on back cover reads (title)… “A bouncing bundle of sleek ‘n’ snappy strip cartoons from the year of fear. The year when safe sex and perilous politics were back with a vengeance; Divine Vengeance. Only Steve Bell’s IF … cartoon in the Guardian could fearlessly feed off the funny side of the farrago of foul-ups.”  “Almost obscene.” House of Lords, March 1987. 

    Cartoons look a lot to me like the work that Robert Crumb publishes in style and content.

    Further analysis of Bell’s influence can be read in the following article. (link to Periodicals)

Dodds, Klaus, “The 1982 Falklands War and a critical geopolitical eye: Steve Bell and the If…cartoons,” Political Geography, Vol. 15, No. 6/7, 1996, p571-592.

Biographical Sources

Fischer notes in his essay on sources in Them Damn Pictures that incisive biographies of eminent American political cartoonists are rare. He adds that anthologies in print are typically strong on art and weak on biography and analytical criticism. However, he says Herblock anthologies provide insightful commentary on artistic and political intent, and show the cartoons drawn with the inspirations. While topical studies with only a dab of biographical data are the norm, it is Herblock’s autobiography that earns first place on the list without question. The sources that follow are provided in three categories: scholarly collections, biography within a single-artist’s collection, and biography within topical collections.

Davis--NC1429.B625 A2

    This autobiography provides Herbert Block’s earliest recollection of a national political campaign when he was 6, through the political events driving his editorial cartooning career with The Washington Post. Although heavier in text than cartoon examples, the 34 named chapters and a comprehensive index make this work helpful for reference of biographical or situational uses as well as cover-to-cover reading.

    Somers’ review (p65-66) notes that one of the very best editorial cartoonists of this century has written one of the better autobiographies. The engaging yet somehow impersonal text emphasizes Block’s career, showing that his envied editorial independence was not easily won, and the 10-page index testifies to his associations with numerous politicians and other celebrities.  

Scholarly Biographic Sources

Davis--NC 1426.G73

    Analysis of the interviews of 24 cartoonists, who obtained American newspaper editorial positions in about 1980, provides insight into the satisfaction of using creativity despite professional challenges from syndicates and cyberspace. Four representative cartoons for each artist are designed to show how cartoonists interpret issues and how the individuals express themselves as graphic artists. Limiting the selection to “post-Oliphant” cartoonists is designed to encourage further study of contemporary cartoonists.

Davis—F316.2 .F58

    Brief biographies of sixteen Florida cartoonists, most from major daily newspapers, accompany illustrations of their work. Harrison, an associate professor at the University of Miami’s School of Communication, said the course, “The Lines Are Drawn: Editorial Cartoons in the American Life,” led to the creation of this work. Pat Oliphant’s foreword lists five reasons why it is more challenging to enter the field of editorial cartooning now and applauds the author for attempting the compilation noting, “But his a Quixotic crusade for truth, justice and the American Way.” Harrison’s lengthy, but enjoyable, introduction provides insight into changing field but concludes with a hopeful tone for the necessity of editorial cartoonists to democratic discourse and decision-making.

Davis—NC1426.J78

    Introduction and interviews by author of six cartoonists, selected because they “stand apart from most of their colleagues by he darkness and bite of their humor. They are among those taking greatest advantage of the recent reduction of taboos in the media—a situation they helped to create. Their cartoons are never hokey; they use only their own ideas; they never buy gags.”

Jacobs defined the scope as getting to know the people behind the styles. His secondary reason for producing the work was to foster better appreciation of panel cartoons.

“The whole joke in a panel cartoon must be honed down to a single most crucial instant implying past and future.” This explains economy of language, aptness of word choice and a fell for idiom, often to make a point beyond humor. Like stand-up comedy, Jacobs says you come to laugh and may stay to think.

Davis and UL--NC1763.P66 P513

      Although this work is not recommended unless the research is specialized in art history, selected biographical sketches from Philippe’s list of  “Fifty Names in Political Graphics” are helpful. Three names recognized from earlier searches are Robert Crumb, Jules Feiffer and David Levine.

Davis--E839.5 .G43

    Biographical information on and examples of works by Bill Sanders, Jules Feiffer, Mike Keefe, Don Wright, Paul Szep, Ben Sargent, Doug Marlette, Bill Mauldin, Mike Peters, Paul Conrad, Tony Auth, Hugh Haynie, Pat Oliphant, Draper Hill. Introduction by Westin says that the 14 cartoonists featured are all staunch supporters of civil liberties. They ranged in age from 30 to near 60, education vary from high school dropout to Ph.D., background from military officer to conscientious objector. All male. All white. All devastatingly funny.  Westin concludes his introduction with, “We are, indeed, a better society and our rights are more secure because these artists do “get angry six times a week.” 

    In details provided by Somers (p89), the work is an anthology of civil liberties cartoon “galleries” originally planned or published by the civil liberties review, a bimonthly magazine of the ACLU. The magazine ceased publication in 1979 after publishing 10 sets of “galleries.”

Biographies within Collections by Single Artists

While focused more on the art than the commentary, the following collections include enough information in the introductions or elsewhere in the work to speak intelligibly about the artists.

Davis--E876.C67

    An interview session is documented on pages 167-176. When asked what the role of an editorial cartoonist is, Conrad responded, “I believe it is to speak for the people in this country, in some cases the world, who have no voice. In so doing, the cartoonist has to be as informed as possible. That’s why all the reading is required. A cartoonist has to care very deeply about the issues confronting the nation and the world. I’m not certain that any cartoonist has ever solved anything, but I think we help in clarifying the issues and providing a voice for the common folk who don’t have a forum.”

Davis Folio—E839.5.F44

      In 1958, Feiffer agreed to draw for Playboy. Hugh Hefner encouraged him to make his points stronger, even if they were non- or anti-Playboy. In 1960, Feiffer went with Hall Syndicate for national syndication and told them his worries about selling out, being censored, losing status as a cult cartoonist. “After a year of syndication I began to see censorship not as a problem, but as a form of affirmation, of quality control. If they didn’t run me, it meant I was doing something right. Twenty-two years later I appear in more papers that I ever imagined—that is, considerably few than any other famous cartoonist and just enough to break even.”

Davis--E885.H847

    According to the newpaper’s editorial director, Hulme is called the irrepressible slasher by her collegues. One of the few women to cartoon full-time for a daily newspaper, Hulme began drawing for the Fort Worth (Texas) Star-Telegram in 1972, and is referenced as a rarity for her gender in two entries within John Lent’s bibliography.

 Biographic Tidbits with Topical Collections

While it would be a lot more fun to meet Doug Marlette in person or watch a live performance of the Southern Musical Kudzu, the first of three inclusions in this section provides a glimpse of the artist’s life not found in other collections. Richard Minear’s work on Dr. Seuss covers a portion of the artist’s life that Baby Boomers never imagined.

Davis--E884 .M37

    The 1992 presidential campaign provided the author an opportunity to mix his editorial cartoons with selections of his “Kudzu” comic strips to show the decline of the good ol’ boy with the corresponding rise of Southern politicians, Bill Clinton and Al Gore. Although it is not surprising that the storybook format does not include a table of contents or index, the author wrote three 3-page essays; first an introduction to “Faux Bubbas,” followed much later in the book by “My Son, the Republican,” and toward the end “Close Encounters of the Presidential Kind.”

Davis--D745.2 .M56

    Minear’s book celebrates the editorial cartoons of Dr. Seuss and their influence on American public opinion in 1941 and 1942. An interesting work both on topic and on the artist’s impact in delivering political messages using his artistic gift while staying true to his values.

Periodicals  

Using the strategy listed in Hints on Subject and Keyword Searches, the following three databases were searched using OCLC First Search. Limits were established for citations no more than five years old and that sources cited be available in the library system at UNC-CH.

Five records resulted from a search of ERIC, an index of 750 journals in the education field. Topping the list was the article from Special Libraries on indexing editorial cartoons. (Publication located in the library for the School of Information and Library Science in Manning Hall. ISSN 0038-6723. ) To jump to the citation within Indexes, click here.

Three leads were given to Social Education (Davis, 5^th floor—H62.A1 S6) and one to Instructor (Davis, 6^th floor--L11.I59).

Twelve of the 18 records retrieved from Electronic Collections Online (ECO) pointed to Communication Abstracts, available in Davis Reference, Row 17 (P87.C59.733). Abstract topics ranged from international issues in political cartooning to how to use cartoons as a teaching tool in journalism history. Two book reviews were found within the abstracts, but you would not know this because the term “book review” was not listed in the ECO citation.

Because 12,500 titles are searched when using the Article First database, it may help to not only limit your search to publications in your library, but also to professional journals and possibly to those that are pertinent to your field of study. With strict limits, a list of 8 citations resulted with 6 from Editor & Publisher (Davis, 7^th floor, PN 4700.E4), a book review within The American Historical Review (Davis, 4^th floor, E171.A57), and an article in The CQ Researcher (UL—H35.E35). With the restriction for TV or television removed, 28 citations resulted, although only one was irrelevant to printed editorial or political cartoons. Five full citations are listed below:

Marschall, Richard E., “The Century in Political Cartoons,” Columbia Journalism Review, Vol. 38, No. 1, May/June 1999, pp54-57. (Davis, 7^th floor—PN 4700.C64)

            Including nine panel cartoons and one strip, this article reviews the political cartoon as a component of daily American journalism during the 20^th century. This particular article is not on the publication’s Web site, however other articles, without graphics, are archived at: www.cjr.org/

Edwards, Janis L. and Carol K. Winkler, “Representative Form and the Visual Ideograph: The Iwo Jima Image in Editorial Cartoons,” Quarterly Journal of Speech, Vol. 83, 1997, pp289-310. (Davis, 7^th floor—PN 4071.Q3)

            The first author’s name peaked my curiosity since I chose her book for the introductory, historical and scholarly sources. (link) A critical abstract reviewing the article was retrieved in the ECO database search. (See Abstract #479 in Communication Abstracts, Vol. 21, No. 2, 1988.)

Root, Jeraine R., “Is a Picture Worth a Thousand Words? A Q Methodological Study of Political Cartoons,” Political Communication, Vol. 13, No. 3, 1996, pp363-4. (Davis, 4^th floor—JF 1525.P8)

            This article reviews a dissertation that resulted from studying the use of analogy and abstract reasoning  skills in understanding of political cartoons. While very few people affirmed their understanding of intended messages in the study, the research suggests that political scientists should not disregard the study of cartoons. Those who do comprehend cartoons are often opinion leaders who provide the gist of the messages to the general public.

Dodds, Klaus, “The 1982 Falklands War and a critical geopolitical eye: Steve Bell and the If…cartoons,” Political Geography, Vol. 15, No. 6/7, 1996, pp571-92. (Davis, 4^th floor—JC 319.P59)

            The images in Steve Bell’s cartoons are considered a powerful critique of the (Margaret) Thatcher government. Studies highlight the importance of historical and cultural fantasy in shaping state identities and international politics. Conclusions are offered on the importance of cartoons and other forms of popular geopolitics.

Prerost, Frank J., “Locus of Control as a Factor in the Appreciation of Election Year Political Cartoons,” Psychological Reports, Vol. 72, no. 1, February 1993, pp217-8. (Davis, 3^rd floor—BF 21.P843)

            Reference group membership is studied in terms of appreciation of political cartoons. It was found that internal scorers showed greater appreciation and that men and women showed different patterns of response when results were analyzed.

From other searches, electronic and browsing the nearby shelves, two more periodicals are noted:

The New Yorker, November 22, 1999. Since this issue is noted as “The Cartoon Issue” it would be worth browsing an entire copy. Three articles could be particularly helpful: “The One-Page Cartoon Course,” p94; “I Don’t Get It!” p164; and “Cartoon Presidents,” p166.

American Editor, (Davis, 7^th floor—PN 4700.A58). ISSN 1083-5210. An editorial cartoonist is highlighted in each of the nine issues per year.

Web Sources  

Supporting activities relating to original caricature and cartoon drawings, including acquisition, preservation, exhibition and scholarship makes the Caroline and Erwin Swann Foundation Home Page (through the Library of Congress) a must to visit:

lcweb.loc.gov/rr/print/swann/swannhome.html

Many more links are available through the Web site above. Here are some of the same links but located through other paths:

While advances in technology allow greater subject access to editorial cartoons, the driving factor in maintaining online indexing is economic. “A picture may be worth a thousand words, but digitally speaking, it takes up many more bytes.” (From Special Libraries article cited in Index section.) The value of editorial cartoons remains open to question by some, but for others, they have achieved a rightful place in bibliographic indexes.  

Special collections such as the Centre for the Study of Cartoons and Caricature at the University of Kent (U.K.), are designing systems to increase access to their holdings.

library.ukc.ac.uk/cartoons/

The Cartoon Research Library at Ohio State University in Columbus is the largest cartoon-related research facility in the United States. Although original cartoons are not posted on their site due to copyright issues, the information and links available on this site will make your online time for scholarly pursuits very worthwhile.

www.lib.ohio-state.edu/OSU_profile/cgaweb/

For more information on Dr. Seuss's cartooning visit:

orpheus.ucsd.edu/speccoll/dspolitic

Frequently found through other searches is The Association of American Editorial Cartoonists (AAEC),4101 Lake Boone Trail, Suite 201, Raleigh, N.C. 27607; telephone 919-787-5181.

Although the Web site is only updated quarterly, the resources available on editorial cartooning are phenomenal.

www.detnews.com/AAEC/

The following sites may provide easy access to cartoons, but watch out for digesting too many cookies or getting distracted. There is not much (or any) academic content here, but may be worth visiting any or all of these to narrow your topic of study. Biographic information is available from several of the links.

aolsvc.edivu.aol.com/main.asp

cagle.slate.msn.com/politicalcartoons/

www.uexpress.com/ups/opinion/

then scroll down on left sidebar to select editorial cartoonist

www.cnn.com/allpolitics/

Then click on "analysis and ‘toons"

www.cartoonbank.com/

(New Yorker magazine sponsored site for its cartoons)

cartooning.about.com/arts/cartooning/cs/politicsreligion/index.htm

Click here to return to main Web site for Susan Keesee

Contact the author of this pathfinder by e-mail: Susan at UNC-CH Or to her at home

Page updated: Wednesday, 30 May 2001