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The Russo-Japanese War of 1904-1905 captured the imagination of reading publics around the world and in Britain spawned a breadth of products aimed at a domestic audience, including cigarette cards, illustrated magazines and newspaper cartoons. This essay investigates the commentary on and interpretation of the war offered by cartoons appearing in the British Sunday paper the News of the World and the Welsh daily paper the Western Mail. Editorial cartoonist J. M. Staniforth drew over 70 cartoons documenting the war for both papers, and the degree to which these visual images complemented or diverged from the editorial line expressed in leader columns is considered. The importance of distinguishing between cartoons and editorials and of taking into account the identity and career of the cartoonist is stressed. The visual codes for communicating conflict are also investigated, revealing in the process something of the intellectual horizons of both cartoonist and audience. [ABSTRACT FROM AUTHOR]

We investigated how decision-making is affected by the visual presentation of flood hazard information. We exposed participants to different formats of flood hazard information while they simulated selecting a property to purchase. We compared three flood hazard formats: (i) maps currently used by the UK Environment Agency, (ii) tables that present flood level and frequency information and (iii) graphical representations depicting the level-frequency combination using a cartoon house image as a physical referent. In the experiment participants were presented, via computer screen, side-by-side information about two houses in a series of trials. Participants made a forced choice preference judgement between 108 different pairs of houses to indicate which they would purchase. Our findings indicate that when hazard information is presented in map format, individuals are less accurate in selecting lower-hazard houses, compared to when the same information is presented as a graphic representation of a house or as a table. [ABSTRACT FROM AUTHOR]

An essay is presented examining the humor and social issues found in Andy Capp cartoons by Reg Smythe published in the "Daily Mirror" newspaper between 1957 and 1965. It looks at portrayals of domestic violence and representations of British working-class masculinity and femininity. The author goes on to discuss how the domestic life depicted by Andy Capp cartoons reflects the actual experiences of British working class families of the era.

Although the Congress of Vienna was not a main topic for political caricature, it was anything but ignored. During the first five months of 1815, while monarchs and diplomats were deliberating on Europe's future, caricaturists in Great Britain, France and the German-speaking states depicted the Congress as a major or minor subject in 20 satirical prints. Together these caricatures provide a multi-perspectival view of the way contemporaries assessed the diplomatic deliberations taking place in Vienna. To obtain an insight into this important part of contemporary public opinion on the Congress, the corpus of graphic satire was submitted to close scrutiny in two ways. Firstly, a context analysis ascertained the artists who produced them; how the prints were published and brought to public attention; and for what audiences they were intended. Secondly, a content analysis explored the political messages that the caricatures on the Vienna Congress tried to convey and the persuasive techniques that were applied to visualise these points of view. Notwithstanding different national origins and opposite political views, the message is a negative one: the satires denounce the territorial greed of the Great Powers and their disregard for the demands and aspirations of the peoples they seek to incorporate. [ABSTRACT FROM AUTHOR]

The article explores the perceptions of race and ethnicity and attitudes on racism in Great Britain's National Health Service (NHS) from 1948 to 1988. Topics include visual representations of white and non-white figures, the values of news photography and cartoons as tools to analyze racism in NHS, and the criticism of newspaper editor Harold Evans of journalists for their reporting of race. Also discussed are the outbreak of smallpox from 1961-1962, the history of the NHS, and its visions.

The article discusses a thirteenth-century English caricature sketched on the 1233 Exchequer Receipt Roll featuring a three-faced view of Jewish financier Isaac of Norwich, other Jewish companions, and demons. It considers the work as part of Medieval material culture and political context. It explores English civil culture and the habits of scribes. Other topics include Jewish–Christian relations, anti-antisemitism in the Middle Ages, and Jewish history.

Media framing scholars have long examined why journalists select certain frames over others at a given point. However, we know much less about why certain frames persist over time in the media while others fade away and still others disappear very quickly. In this study, we bring attention to the study of frame duration and offer an approach based in event-history methodologies that can assess the causes of repeated frame deployment over both long and short periods of time. As an illustration, we examine the British coverage of the 2006 Danish Muhammad cartoon controversy, demonstrating a rigorous and analytically sound approach to the longitudinal analysis of media framing dynamics. [ABSTRACT FROM AUTHOR]

This essay explores how and why the English socialist artist and Arts and Crafts designer Walter Crane came to produce an icon of anarchist martyrdom, his cartoon entitled "The Anarchists of Chicago," from 1894. In doing so it situates the ‘Haymarket Affair’ of 1886 as a crucial moment in the interplay between socialists and anarchists, one that would have a profound effect on Crane’s view of the interrelation of art and politics. "The Anarchists of Chicago" can be considered a means of political expression rather than an end. In his artistic response to the ‘martyrdom’ of the Chicago anarchists, Crane struggled to assimilate anarchist politics with his socialist art. In this regard, the only cartoon to declare his sympathy with anarchism actually marks the limits of his engagement with anarchism as a viable political philosophy. [ABSTRACT FROM AUTHOR]