Politics is an ongoing controversial discussion; Everyone has the right to participate and indulge in the political movement. Although chaotic at times, it is extremely important and crucial to our future. With that being said, it is important to note that various cartoon artists take pride in replicating important issue through their art. Artist appeal to their audience by using logical fallacies, ethos, and by emphasizing or pointing out important messages within their artwork. Doug MacGregor, a political cartoon artist, had the honor to form a part of the 2016 elections by displaying his ideas in a political cartoon. The cartoon titled “It Takes Brains to be President” by MacGregor alludes to social media and political knowledge using symbolism. …show more content…
This is evident when he uses a twitter bird to represent Donald Trump’s source of information and a seal of the U.S. president to represent Hillary’s intelligence. This logical fallacy can be classified as a non sequitur because it urges the audience to conclude that Donald Trump gets all his information from twitter which is also a form of red herring. Both of these logical fallacies aim to persuade the audience that Donald Trump does not have brains to be president. In addition, Donald Trump is also a businessman which is not present in the cartoon and can diminish his value. This is known as card stacking and is used to influence the audience by only displaying a minimal part of the information. This benefits Hilary Clinton and adds credibility to her campaign by grouping her with political knowledge. Furthermore, a final logical fallacy described as an either or fallacy, found in many political cartoons is the depiction that only two candidates are running for president when in reality there are four candidates from all different political …show more content…
The artwork displayed in this cartoon is presented in such a way that anyone can understand the meaning of such symbols such as the twitter bird. The assumption that Donald Trump’s intelligence is at a smaller scale than that of Hilary Clinton is derived from the depiction of his smaller brain. Finally, MacGregor’s depiction of a mocking grin on Hilary’s face draws the attention of the audience and provokes a sense of humor and favoritism. Furthermore, it is evident to conclude that the cartoon is under the assumption that Hilary knows she is a better candidate based on her qualifications and experience with the government. Nevertheless, the enlarged puckered lips on Donald Trump’s face conducts a reasoning that most would assume he is bothered and will indeed repel against anyone who opposes his will. Overall, Doug MacGregor does an exceptional job by evoking emotions towards a massive audience of American citizens with his political
Donald Trump is the victim of many jokes because of his orange fake tan and wispy hair. Teddy was known for his glasses and for his distinct teeth. These matchless characteristics are easily identified in any political cartoon because they are extremely exaggerated to prove a point. Not only do they stand out for their psychical appearances, their personalities are quite unique as well. Both are known for their harsh, passionate temperaments towards ineffective government. Both played on populist beliefs and placed the average man against the government while realizing the potential for media influence. Roosevelt was one of the first to utilize media like newspapers and magazines in attempt to sway public opinion. Trump does the same but with modern technologies. He operates his own twitter account, often voicing his blunt opinions in a sometimes controversial way. Regardless, he gets his point across to millions in a matter of seconds. Today’s society allows for quicker spreading of news, but Roosevelt still expressed his views
The faces in this political cartoon are very exaggerated, giving a very comedic feel. Obama's chin was made longer and he has huge ears. The Pope wasn't given a neck in this cartoon, as well as a big forehead. It makes the audience laugh due to the ridiculous illustrations.
Comedian Jon Stewart gives a speech on the Daily Show during the “Rally to Restore Sanity/Fear”. He wants the viewers of the Daily Show to realize the difference between the real and fake threats and to take a humorous perspective on most of America’s “problems”. Stewart also emphasizes to his audience not to take every person on the media by his word and not to overreact to everything they hear. He uses metaphors, comparisons, and hypothetical examples to get his point across.
The political cartoon “It’s Okay--Were Hunting Communists”manages to sum up the events and political chaos of "The Red Scare"(751, Government and Law). Specifically, the artist is able to mock President Harry Truman, Senator Joseph McCarthy, and The Committee of Unamerican Activities(HUAC). The artist use of facial expression and symbolism paints a picture for the audience, and their feelings towards these issues. The use of this political cartoon also take historical events, and helps to illustrate the meaning and consequences of these events.
In this paper I am going to discuss the rhetorical appeals, as well as the argumentative structure, audience and purpose set forth by George W. Bush in his September 27 speech in Flagstaff, Arizona. More specifically I will refer to the rhetorical appeals of ethos, pathos and logos, and explain how they are used to gain the support and attention of the audience and further the further the purpose of the speech. As I explain these appeals I will also give an insight into the argumentative structure and why it is apparent in this particular speech.
After this thorough analysis of broadcasts from both the Democratic Party and the Republican Party televised during the 2008 presidential election campaign, we can identify the most popular types of argumentative informal fallacies and how they can serve to appeal or attack the ethos, pathos and logos of an argument or the arguer himself or herself. It is important for the American electorate to be able to recognize them and dismiss them promptly, to abstain from making a decision as important as selecting the new president of the United States based on false or illogical arguments. Unfortunately, political parties and interest groups will continue to take advantage of these fallacies, it is up to the public to think critically in order to avoid being wrongly influenced or misguided by them. Works Cited BarackObamadotcom. James Taylor for Obama.
The United States was a country founded on the basis of freedom. Imagine living in a nation in which The First Amendment did not exist. Where there was not freedom of speech or press where censorship reigned with a king. This picture is that of France for the entirety of the nineteenth century. During this era, Honoré Daumier was a renowned political and social cartoonist. The King and his police persecuted the lithographer Daumier, among numerous other French artists, for his political activism, including jail time and heavy fines. Honoré Daumier was a master of political and social critique. Looking at an overview of his commentaries there appear strong parallels that can be drawn to current American politics. Daumier uses a range of stylistic choices to promote critiques that are multi-dimensional which contain various overt and more subtle satires, meanings, and messages. Learning from and referencing Daumier, I created a political cartoon that mimics his style.
This article really caught my attention and my eye. This article is very historical and has facts within it that date back to the 1700’s. The article talks about how political cartoons play a part with an election. Specifically the presidential elections and how each and every year cartoonist depicts the candidates as a some sort of superhuman. I believe that this article gives people some background on political cartoons and how they have helped play a part within the U.
In the political cartoon 5A, the first reaction you have is to laugh without knowing the deeper meaning behind it, and I guess that’s most people reaction if they don’t read the captions. In my opinion this cartoon represent two events of our country’s history, the “Democratic Split” and “The Nomination of Lincoln”. The main characters in this political cartoon are Abraham Lincoln, Douglas, and John C. Breckinridge. The chief symbols in this cartoon is the two rodents that’s split at the tail. Another chief symbol is the way Abraham Lincoln is carrying the two rodents on a stick, like they are very poisonous and the need to be gotten rid of. The split tail rodents represent the Democratic Party and how they are breaking apart and not working together. It represents how the Democratic Party is corrupt. The way the “Old Abe” is carry these two rodents is how anyone in NYC today reacts to the rats in the subway station, ‘They need to get rid of’; and that is what I think the artist of the cartoon was trying to portray, that Abraham Lincoln had to get rid of the pest that’s corrupting our nation.
David Horsey’s cartoon “Spitting Image” depicts Donald Trump talking to himself as Russian President Putin in the mirror. Horsey’s cartoon parallels Trump to Putin not only in image, identical tattoos, towel on a shoulder, but also in the caption. Trump was criticised several times in the media for allying with the Russian president, although Trump has claimed he has never met Putin.
It is worth noting that his integration of symbols in American politics goes hand-in-hand with media. While politics and media have a collaborative relationship, it is worth noting that the elephant of the Republican Party and even the modern representation of Santa Claus according to Bruce D. Forbes (89) have been integrated with media. As previously mentioned, Thomas Nast has made politics a more tangible concept for the American public. However, if the American public can keep the vision of a fat man in a red suit alive for a couple of centuries for the sole purpose of the free market, this just goes to show his profound impact when the mere icons are plastered in the minds of adults and children alike long after his death. This legacy allows for the American Public to visualize the dynamics of the world, no matter how abstract the idea is. A mysterious man delivering presents around the world? The Republican Party? How does one even materialize that idea? How does one tangibly think about a political party? The personification of these abstract ideas makes it so that individuals can reciprocate and contribute to society. Perhaps, one thinks of a political party as a mass of individuals, but Thomas Nast has personified political parties for a much more dynamic political sphere because his personification makes the idea much more
This paper will discuss Ralph Steadman as an illustrator, but more specifically as a political cartoonist in post World War II Britain. His deeply set animosity for certain political figures and his caricaturization of them is a purely geographic feature. Steadman’s involvement in England’s top satirical publications boosted his credibility enough locally to garnish him better paying illustration jobs in the United States. These jobs not only brought better pay, but a new cast of politicians and elite society members for Steadman to poke his jokes at, thus further solidifying his reputation as the next great satirist from a long line of English caricature artists. In particular I am going to discuss other British cartoonists that share Steadman’s feelings towards the socially “elite”. This will help illuminate similarities between the artists and their common contempt for high society as well as prove that Steadman’s location of upbringing molded his satirically based career. Among these additional British illustrators are Gerald Scarfe and John Tenniel; both had also illustrated the pages of the weekly satire Punch (Fig.1)(Fig. 2). Scarfe’s style was extremely similar to Steadman’s and both Steadman and Tenniel are well known for their illustrations of Alice in Wonderland (Fig. 3)(Fig. 4). Thomas Nast is yet another illustrator who focussed on political cartoons in the British satirical publications of Punch and Private Eye (Fig. 5). Nast’s wit was not only responsible for the iconography that has become known as the modern day idea of Santa Claus, but one of his more famous illustrations was responsible for aiding in the capture of Boss Tweed (Fig. 5). Punch and the satirical ora that surrounde...
My critical analysis essay will evaluate the humor and political satire in "The Citrusy Mystery of Donald Trumps Hair” by Frank Bruni. Bruni's essay states that Trump's hair is intrinsically linked to "whatever he is projecting at us" par.28. He describes endlessly the way it changes "in any given instant" par.7. Bruni adamantly proposes that “Trump's ideology is unclassifiable" par.21, just like his hair. Verbal imagery influences the reader, adding context and comparisons to Trump's constantly changing hair color. Bruni utilizes hair as a helpful metaphor for the perpetually unpredictable nature and phenomena that is Donald Trump. He explains that he, and many others, are in “follicular suspense” par.11 over Trump’s hair color on any given
In the political cartoon The Evolution of Candidate Donald Trump, many valuable points are brought up. The cartoon represents more a devolution than an evolution, which, in many ways, seems true. When looking at him from one point of view, Trump’s opinions seem primitive, and seem to become even more so as he “evolves”. Above the final image, a small monkey with Trump’s hair, is a black speech bubble asking, “Where is Obama’s birth certificate?” This represents the ways that Trump seemingly tries to bully the other candidates and President Obama himself. During many Candidates Debates, instead of talking about his platform, he brings up negatives of others, often that are not even true, such as that Obama wasn’t American, which forced the White House to release Obama’s birth certificate. Losing his argument, Trump continues to criticize and refuses to believe that it is, in fact, Obama’s actual birth certificate.
Although, the cartoon draws from logos the most. For example, the author uses logos when depicting Trump as out of shape and hinting towards his lack of capability and aptitude by putting him in arm floats. One would logically deduct that he would be unable to win in the swimming race when competing against well-fit professionals who have a significant amount of experience swimming. This can be connected to the actual Trump’s lack of political experience and capability to be president in comparison to the other candidates in the author’s perspective. In the illustration, Trump also makes the irrational assumption that losing would mean that the race is rigged. The illustration implies that Trump’s statement, considering how unfit he is for the race, is ridiculous and reflects his