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Karl Kae Knecht's name is synonymous with the city of Evansville. As editorial cartoonist for the Evansville Courier, he amused readers and spurred them to a higher social good. He mocked the Axis powers and kept local morale high during World War II and commented daily on issues from the Great Depression to the Space Race. He also worked tirelessly as a civic booster. Knecht helped establish Evansville College and was almost single-handedly responsible for the establishment of Mesker Park Zoo. In this absorbing account, illustrated with over seventy cartoons, University of Evansville historian James Lachlan MacLeod tells the fascinating story of Knecht's life and analyzes his cartooning genius.
From Benjamin Franklin's drawing of the first American political cartoon in 1754 to contemporary cartoonists' blistering attacks on George W. Bush and initial love-affair with Barack Obama, editorial cartoons have been a part of American journalism and politics. American Political Cartoons chronicles the nation's highs and lows in an extensive collection of cartoons that span the entire history of American political cartooning."Good cartoons hit you primitively and emotionally," said cartoonist Doug Marlette. "A cartoon is a frontal attack, a slam dunk, a cluster bomb." Most cartoonists pride themselves on attacking honestly, if ruthlessly. American Political Cartoons recounts many direct hits, recalling the discomfort of the cartoons' targets?and the delight of their readers.Through skillful combination of pictures and words, cartoonists galvanize public opinion for or against their subjects. In the process they have revealed truths about us and our democratic system that have been both embarrassing and ennobling. Stephen Hess and Sandy Northrop note that not all cartoonists have worn white hats. Many have perpetuated demeaning ethnic stereotypes, slandered honest politicians, and oversimplified complex issues.
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Do political cartoon predict violence? To answer this question Ilan Danjoux examined over 1200 Israeli and Palestinian editorial cartoons to explore whether changes in their content anticipated the outbreak of the Al-Aqsa Intifada in October of 2000. Despite stark differences in political, economic and social pressures, a notable shift in focus, style and tone accompanied the violence. With numerous illustrations and detailed methodology, Political Cartoons and the Israeli Palestinian Conflict provides readers an engaging introduction to cartoon analysis and a novel insight into the Israeli-Palestinian conflict. In a region fraught with contested realities, the cartoon’s ability to capture the latent fears and unspoken beliefs of these antagonists offers a refreshing perspective on how both Israelis and Palestinians perceived each other and their chances for peace on the eve of the Second Intifada.
The satires and cartoons of Grip magazine, especially the drawing of John Bengough, provide a revealing glimpse into Canadian political and social life in the early years of confederation.