viz.

Pedro Molina, Managua, Nicaragua "El Nuevo Diario"

Ten days after the cataclysmic 8.9 earthquake in Japan, we have only a small sense of both the immediate and long-term consequences for the country.  Political cartoonists world-wide are manipulating the image of the Japanese flag, positioning the crisis as a national tragedy/catastrophe and exploring the aftershocks.  The resulting images are interesting for both their visual simplicity and the complex arguments they (inadvertently?) construct.

Image credit: Chan Lowe, The Lowe Down

The above cartoon, republished yesterday on the artist’s blog, makes a very effective argument against Don’t Ask, Don’t Tell. The use of flag-draped coffins, signifying shared tragedy, suggests that dying for one’s country has little to do with sexual orientation and that is rather the work that an individual does—in this case, sacrificing his/her life for the United States—that matters.  In this kind of public sacrifice, the image suggests, everything individual is erased. However, this message seems more complicated when considered in relation to one of Tim Turner's earlier posts and the wider cache of meanings that these coffins suggest.

Image Credit:  A Catalogue of 18th-Century British Mezzotint Satires in North American Collections

I thought I’d step back from the contemporary pop culture discussions today to look into two archives with a more historical emphasis:  the Lewis Walpole Library Digital Collection and A Catalogue of 18th-Century British Mezzotint Satires in North American Collections.  Both of these collections offer extensive resources for instructors in eighteenth-century literature, politics, art, and culture.

Right off the bat, I want to say that I'm not accusing contemporary political cartoonists of creating racist depictions of Barack Obama. But I do wonder, is that tough to avoid? Political cartoons typically accentuate the subject's features in unflattering ways. They're caricatures. Remember George W. Bush's enlarged ears? The problem is that, with the nation's first African-American President, cartoonists have to avoid a whole history of racist cartooning. They have to simultaneously do what they've always done, which is make fun of the most powerful person in the world, but without referencing a racist visual history.

Consider this racist cartoon:

(Image from the Ferris State University Jim Crow Museum)

Wonkette runs a weekly feature in their "Joke and Dagger Department" in which they get the "Comics Curmudgeon" to look at the week's political cartoons. This week focuses on the (wo)man-beasts slouching towards the White House: