By Jacob Steere-Williams
These are heady times for those who study mediated communication and social discourse. The January 2015 attack at the Paris office of the French satirical magazine Charlie Hebdo, which resulted in the death of twelve people, ushered in a wave of reflections on the social shaping power of political cartoons in both form and content. Stoked by controversial caricatures of the Prophet Mohammed, the attack demonstrated a deep-seated cultural fissure in the post-9/11 world.
Yet, political cartoons rarely make such headlines, typically operating at a lower level of cultural cognizance. They are what scholars call a “domesticated technology,” normalized into our everyday lives. We peruse the latest copy of The New Yorker or The Onion, embedding political cartoons as a means of entertainment, when in fact they are powerful forms that reify social values and set agendas.
Consider, for example, the divisive public health issues of Ebola and the MMR (measles-mumps-rubella) Vaccine. Conceptualizations of health and disease are fundamental ways of understanding both the self and society. Disease is at once a biological reality and a social construction. For at least the last 150 years in the western world, visual metaphors of disease—and the proscribed public health policy implications—have shaped the way societies understand and respond to epidemic crises. In the case of Ebola, the disease is culturally linked to blaming Africans, as Cartoonist Patrick Chappatte’s 2014 cartoon on Ebola demonstrates. The MMR Vaccine, likewise, is tied to fears over autism, as in Cartoonist Mike Keefe’s 2015 cartoon on vaccination that probes the controversy between individual liberty and compulsory vaccination. Continue reading