The use of political cartoons during popular protests: the case of the 2011 Tunisia uprising

Mhamdi, Chaker

doi:10.18172/jes.3063

Cited by 9 publications

(5 citation statements)

References 4 publications

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“…Recent studies on cartoons have expressed their interest in analyzing cartoons from various perspectives. Mhamdi (2017) has made a study exploring the utilization some political caricatures in the Tunisian context during its transitory phase in the aftermath of the 2011 uprising. It has figured out the way, the political caricatures have been employed to mirror the socioeconomic and geopolitical conditions in Tunisia at that time.…”

Section: Literature Reviewmentioning

confidence: 99%

Analyzing Iraqi Political Cartoons

Abdulwahid

2022

Cihan U Erbil J H SOC SCI

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Pictures have an essential effect on our thoughts and decisions. We have also noticed how these pictures produced in the form of cartoons affect our viewpoints. They do so since we are addicted to social media to the extent it can manipulate our thoughts unconsciously and obnoxiously. Besides, people don’t have the courage to express their viewpoints clearly, so they tend to use the satire to keep their face. This motivates the researcher to analyze the underlying structure of this satire presented in caricatures to read the message clearly. This research aims at revealing the way the political caricatures are produced and the main characteristics of political caricatures. Incorporating a methodology depending on selecting some samples, this paper is a semiotic analysis of political caricatures announced through the election campaign 2018 in Iraq. It concentrates on the format caricatures used as a communicative channel on net platform to come up with essential senses and prevailing political matters. This is carried out by adopting Barthes’ semiotic theory which is the first apparent semiotic approach. It is a good means to analyze the implied structure, including the dictionary and implied senses of creating influence of political caricatures. Besides, it provides us with a good means to interpret and understand political caricatures. This is quite important since political cartoons work as an approach to comprehend human consciousness.

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Section: Literature Reviewmentioning

confidence: 99%

Analyzing Iraqi Political Cartoons

Abdulwahid

2022

Cihan U Erbil J H SOC SCI

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“…Lastly, the paper established that political caricature constitutes a powerful multimodal genre encompassing linguistic and nonlinguistic means to pass through information and hence requires theoretical knowledge to derive meanings fully. Mhamdi (2017) conducted an online study that sought to analyse the impact of political caricature as applied in social media, using the Tunisia 2011 transitory uprising as a case study. Mhamdi analysed 16 caricatures with political inclinations that were mostly shared and circulated via Facebook.…”

Section: Journal Of Media and Communicationmentioning

confidence: 99%

“…Moreover, this means of conveying information to the mass audience has been considered the most effective compared to written text which often requires a significant amount of time for the audience to comprehend and interpret. Hence the use of caricature allows the mass media to attract more audiences to the print media by raising their attention and curiosity, especially in nations such as Kenya, where the freedom of the press is still under the threat of censorship (Mhamdi, 2017).…”

Section: Introductionmentioning

confidence: 99%

Visual analysis of the big four agenda caricature as portrayed in new media: A case of the Gadocartoons.com

Kinyanjui

2022

JMC

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This paper focuses on the Visual analysis of the Big Four Agenda as portrayed in the new media caricature. The study aims to depict the sociopolitical and economic context after the 2017 election, focusing on visual communication as embedded in political caricature. This study seeks to unearth such hidden meanings embedded in the Big Four Agenda caricature. The study adopted a qualitative method to arrive at descriptive findings. The researcher applied a semiotic analysis paradigm to analyse the sampled data by interpreting the signs system through connotative and denotative aspects entrenched in the caricatures. The researcher purposively sampled Three caricatures published by Godfrey Mwampembwa, a Tanzanian, Kenyan-based caricaturist. The results established that Gaddo's caricatures deployed various stylistic devices to criticise the socioeconomic and political plight of the Kenyan people. The devices included puns, codemixing, facial expressions, and gestures. The major themes derived from this caricature were Corruption, Leniency, Selfish economic Interest and Short-lived socioeconomic promises. This study concludes that in as much as a caricature is used as a means of humour, it most significantly conveys messages that require interpreting sociopolitical and ideological knowledge.

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“…The term encompasses a wide array of literary modes such as autobiography arguably the most dominant one. Also termed by Gillian Whitlock (2006) as "autographics" for their amalgamation of narrative text and images, an aspect that has made the genre a privileged medium for conveying taboos and for representing prohibited social and political spaces (Mhamdi, 2017a). This paper tackles the long history of censorship committed against comics and graphic novels in particular and it also sheds light on the challenging capacity of the medium to subvert and to resist censorship by eluding its ties due to the genre hybrid aspects.…”

Section: Positsmentioning

confidence: 99%

Feminist Graphic Narratives: The Ongoing Game of Eluding Censorship

Derbel¹

2019

Mediterranean Journal of Social Sciences

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Censorship today has been acquainted with the action of silencing, suppressing or even making unheard and unseen what is considered as culturally and socially unacceptable. Its omnipresent and widespread aspect made the concept touches upon all literary genres among which graphic narratives by women prove to be censorship’s target. The medium’s multimodality and ability to explore culturally, socially and religiously troubling spaces has categorized feminist graphic narratives as “soft weapons” endowed with a stylistic capacity and a system of grammar to subvert and to resist control. It is in this context that that this paper procures a theoretical definition of censorship by linking it history to that of comics and graphic narratives in order to shed light on the historical ties informing today’s conflictual relation between censorship and feminist graphic narratives. By taking the example of Marjane Satrapi’s Persepolis and Linda Barry’s One! Hundred! Demons!, the study stresses the capacity of graphic narratives to elude the gaze of the censor through the adaptation of different evasive techniques.

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The use of political cartoons during popular protests: the case of the 2011 Tunisia uprising

Abstract: ABSTRACT. This study investigates the use of political cartoons in the TunisianPalabras clave: Caricaturas políticas, discurso mediático, textos gráfico, representación visual, levantamiento tunecino, primavera árabe.

Cited by 9 publications

References 4 publications

Analyzing Iraqi Political Cartoons

Analyzing Iraqi Political Cartoons

Visual analysis of the big four agenda caricature as portrayed in new media: A case of the Gadocartoons.com

Feminist Graphic Narratives: The Ongoing Game of Eluding Censorship

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