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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