Cartoon analysis is the study of a non-elite communication. 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. Political Cartoons and the Israeli-Palestinian Conflict provide readers an engaging introduction to cartoon analysis and a novel insight into the Israeli-Palestinian conflict. Conflict researchers benefit from paying attention to popular fears because they influence the policies of career-minded politicians and autocratic leaders seeking to placate domestic dissent. The book begins by outlining the rationale for this research project, while explaining the choice of the Israeli-Palestinian conflict as a case study. It identifies the challenges of cartoon research and outlines the methodological approaches available to researchers. After laying the framework for this study, the book details the collapse of the Israel-Palestinian Peace Process into full-scale violence by October 2000. A description of Israeli and Palestinian media production follows. The book demonstrates the cartoon's ability to chronicle changes in conflict. Not only did both Israeli and Palestinian cartoons change their focus with the outbreak of violence, the mood of cartoons also shifted. It also shows that Israeli and Palestinian cartoons also changed the way that each portrayed the other. Changes in both Israeli and Palestinian cartoons corresponded with, but did not precede, the outbreak of the Al-Aqsa Intifada.

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OVER THE COURSE of this research, people with whom I have discussed this project have sent me links and news of cartoons, comics, graphic novels, children books and even animated movies. This flood of support made me realize how difficult it can be to distinguish political cartoons from caricatures, paintings or doodles. Caricature is a quintessential feature of the editorial

in Political cartoons and the Israeli-Palestinian conflict
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FEW PEOPLE appreciate the skill required to read political cartoons. Unlike the background information that accompanies newspaper articles or the captions that frame newspaper photographs, editorial cartoons provide readers few identifiers or descriptors needed to identify new actors or concepts. Instead, cartoons use a combination of physical distortion, cultural references and visual

in Political cartoons and the Israeli-Palestinian conflict
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A QUINTESSENTIAL FEATURE of political cartoons is their ability to reduce a complex situation into a binary clash of interests. Politics become a battle of opposites, where good fights evil, outsiders threaten insiders and victims resist oppressors. The most articulate and detailed newspaper report cannot match the clarity of political cartoons, simply because real life is

in Political cartoons and the Israeli-Palestinian conflict
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POLITICAL CARTOONS are cultural products inseparable from their production environment. Few dispute that the political, economic and organizational structures imprint themselves on their content and style. As Darby (1983: 114) explains: ‘The context in which [a cartoonist] operates, whether defined as his nation or the newspaper for which he works, provides him with both themes and

in Political cartoons and the Israeli-Palestinian conflict

from members of the Islamic community were cited as the reason for an emergent self-censorship among potential illustrators. For Rose, this was an unacceptable erosion of free speech that should not go unchallenged. 1 Illustrators were given few guidelines upon being invited to submit images of Mohammed. This was evident in the eclectic mix of messages and styles of the twelve cartoons that were

in Political cartoons and the Israeli-Palestinian conflict
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THIS BOOK began as an attempt to understand the Israeli-Palestinian conflict. It quickly evolved into a research project on political cartoons. Its journey from an international relations study of the Middle East conflict to a cartoon analysis of public opinion forced me across disciplinary divides that locate this work at the intersection of international relations, media

in Political cartoons and the Israeli-Palestinian conflict
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A cartoon analysis of conflict

STUDYING POLITICAL cartoons has made me both more certain of the insight they offer to conflict research and more cautious when reading them. The controversy surrounding the Jyllands Posten cartoons exemplifies the ease with which a cartoon’s meaning can be misconstrued. A selective sample of offensive cartoons, combined with three forgeries, was used to substantiate

in Political cartoons and the Israeli-Palestinian conflict

CARTOONISTS PLACE their pens on the pulse of politics. Within hours of breaking events, a daily cartoon is ready for publication. This quick turnaround allows cartoons to incorporate symbols that, even a day before, may have had little meaning or dramatically different connotations. some symbols become as enduring as American soldiers raising a flag at iwo Jima or as fleeting as the

in Political cartoons and the Israeli-Palestinian conflict
Word and image in Chicago Surrealism

Cartooning the marvelous: word and image in Chicago Surrealism Joanna Pawlik In December 1965 Franklin Rosemont and his wife Penelope travelled to Paris to meet André Breton and the Parisian group of Surrealists. The young Americans from the mid-West stayed for five months, participating in the daily meetings of the circle, which were held between six and eight at the café on Promenade de Vénus.1 The visit testified to the Rosemonts’ burgeoning interest in Surrealism and they returned to Chicago with Breton’s blessing to start the first organised group of

in Mixed messages