Mark Dbq Propaganda

The epoch that the cartoon was drawn in was defined by the emergence of a central force in geopolitics: The nation-state. The force of nationalism, neither benevolent

Originating in the 19th century, political cartoons are created and drawn as a means to deliver a message. Whether it be about politics, events or social concerns, the artist is able to express themselves creatively. The cartoons are not only meant to express the view of the creator but are also open to interpretation. Most political cartoons have a biased point of view and uses rhetoric to persuade its audience.

Two political cartoon images that will be analyzed include a pro imperialism depiction, “Uncle Sam’s New Class in the Art of Self-Government”, from (Harper’s Weekly, 1898) and an anti-imperialism depiction, “Fun for the Boys”, from (Life, 1900) that both demonstrated this debate. While many Americans denounced the act of imperialism, many others advocated it. The focal point of these images was to capture viewers’ attention in which the artist’s main objective was to get viewers to agree with their outlook of imperialism.

Indeed, in an era where news of all kinds is only a click away, it seems odd that the simple cartoon could once have been the most influential form of media in the nation. However, one must realize that the target audience of these cartoons were illiterate immigrants and the impoverished masses; before exposure to Nast’s cartoons, they had no way to know that their beloved Tweed was corrupting politics at all. In addition,these comics were published at a time when the United States had the highest newspaper circulation per capita in the world; everyone had access to these cartoons (Leepson 54). Therefore, Nast could use his illustrations to turn politics into a tangible, understandable topic for the American masses; in doing this, Nast paved the way for future illustrators and journalists, such as Homer Davenport, who went on to caricaturize corruption just as his predecessor had (Wang,

Julian Gugliotta October 10th, 2014 Block 2-1 History 12 Should the Fritz Fischer thesis on the cause of World War One be tossed into the dustbin of history? WW1 was unlike any war ever fought in human history. The sheer amount of death and destruction is a testament of the brutality of mankind. Chlorine gas filled soldier’s lungs and burned them from the inside out.

     Alike, “The Poster” was the most prominent form of psychological manipulation during Stalin's reign. Until World War I the poster had avoided social themes. However, as Stalin’s Russia rose to war and as a world power, the posters took a turn to be commercial and cultural, an attempt to develop an expanding market and advertise various entertainments. The posters of World War II took on a new task: to mobilize the population in support of the war effort. Stalin’s Posters featured themes of mobilizing the armed forces, reconstructing the economy, as well as various specific war time problems. It was at this point that the government began to make efforts to “shape public opinion” and “arouse patriotic feelings”. The government assigned this task to the mass media. Every political event in Russia found resonance in

Introduction: Hello, today in my presentation I will explore the topic of Language and Power by looking into how the Allies in WW2 used propaganda in the form of political cartoons in order to manipulate people’s opinion of the Axis Power. During the second world war, political cartoons were often used as they were cheap to produce and easy to distribute to others. In these political cartoons from 1939 until 1945, the Allies often used political appeals as well as methods to portray the Axis powers as weaker and more villainous in order to manipulate people’s opinion. Political Cartoon 1:

R. J. Overy’s, The Origins of the Second World War published in 1998 rests as one of the most innovative books of its time, as Overy perfectly demonstrates his revisionist interpretation surrounding the events of the Second World War, while challenging the established consensus surrounding the origins of the war. While this book is the second addition of Overy’s book, it allowed the author to include new material covering the huge topic. Within the book, Overy challenges the belief many hold of Hitler being the main cause of the war labelling it a vast oversimplification. As Overy makes the judgment that the outbreak of the Second World War was due to the ramifications of the First World War, how it distorted international order.

It has been around eighty years since the world’s deadliest war occurred. World War II is a topic that is often mentioned and debated on. From the year it actually started to how many were killed, World War II has been disputed about for decades. Layers concealing the inhumane and horrific crimes are slowly peeling off. While the coats of lies are being uncovered, however, not much of the truth has been taught. Most of the information learned today show only what the victors accomplished and strived to achieve. But there is another perspective, nearly forgotten amongst the exciting tales of victory, that tells of pain and desperate situations many faced at the end and even after the war. It is told through the losers point of view, which in the case of World War II in Europe, are the Germans.

The futility and controversy surrounding the First World War, defined as the time period between 1914 and 1918, prompted many literary scholars and social critics to voice their opinions regarding contentious affairs. Expressed in different forms, Leonard Raven-Hill’s visual creation titled ‘The Elixir of Hate’, published in a satirical paper; ‘Punch’, serves to highlight the first full scale use of chemical weapons employed to inflict extensive fatalities on the allied forces. Published only 13 days after the German use of Chlorine gas in the Second Battle of Ypres, it is inevitable that such actions receive vehement critique by Raven-Hill, who’s illustrations during this time period directly address this issue. Importantly, the significance of this visual and its relevance within this time period pertains to the fact that despite the presence of international conventions and laws, they remained inefficacious and inefficient in obtaining international order. This essay intends to critically analyse the visual by investigating various themes present; notably, German brutality, German ambition and the Hague Conventions.

Most studies which have touched on the subject of caricature censorship in nineteenth century Europe have focused on each government's censorship of caricatures produced in its own country and perceived as posing a threat to its own rule. However, in many cases the feared repercussions of critical political caricatures were so great that nineteenth-century European authorities went beyond attempting to prevent artistic criticism of themselves in journals published in their own country. Regimes also tried to ban importation from abroad of critical caricature journals or pressured

The political cartoon uses several outlets to reach its audience. It is describing the turmoil with the war in the Middle East and discussion of feminism. It does this in the following ways; through the audience its speaking to, the message it wishes to instill on them, symbols, and emotions.

I plan to answer the following essential question: how can art be used to depict political views? I also hope to address these other questions that follow the essential one: Do “political art” and “propaganda art” mean the same thing? How can I make meaningful art from political perspectives that are not my own? Why do certain political symbols and images spread (the pink “pussy hats”,

Since the times of the Persian Empires, propaganda has been an effective tool for forces of the State government, or other institutions trying to spread a political message, usually for militarily or humanitarian missions. In modern times, propaganda has taken a new face with the Internet, but during the 1940’s one of the most effective types of propaganda was the use of comic books. Currently comic books are used around the world to spread the message of peace, war, and even religion. For example, in Egypt a comic book is used to spread the word of Islam and what a true Muslim should act like in accordance to Allah. Catholic undertones are used in comic books to spread a message of Christianity to people in an interesting way, with bloody action. In Bosnia and Herzegovina during the Bosnian War, Superman was used to get out awareness of landmines to the people in affected areas. Comic Books are an effective form of propaganda because they are meant to be interesting, and the superheroes show people how they should be acting during times of strife. Throughout the history of comic books, they have been unifying and brought people together and light to certain messages for people from different countries, cultures, and ethnicities.

The First Amendment of US constitution safeguard the individual’s right of press, freedom of speech, freedom to practice any religion and freedom of people’s peaceful assemble. Furthermore, the untextual first amendment gave the freedom of association also. Since, the first amendment is the greatest privilege of the American citizens, it is light of democracy to the world. Within it, the most significant one is the freedom of peaceful assembly and association. In reality, we were not even bothered about our opportunity of association for a common welfare. This paper will be a visual analyzes of political cartoons to show the similar and difference ways the cartoonists use the ‘Freedom of Peaceful Assembly and Association’ to show that the public voice is better than an individual voice.