Campaign
and political satire. Though the best known,
Punch was only one among many magazines
carrying cartoons in the nineteenth century. In
England, Vanity Fair (founded 1868) proved a
rival. In the US, Puck (1876), in France, Le Rire
(1894) and in Germany, Simplicissimus (1896)
made the cartoon the most impactful form of
printed illustration prior to the regular use of
photography. Best known of all US magazines
carrying cartoons, the New Yorker, was founded
in 1925.
Cartoons In fine art, a cartoon is the final
preparatory drawing for a large-scale painting,
tapestry or mosaic. Th e Leonardo cartoon in the
National Gallery, London, is a notable example- ready for fi nal working, but never completed
by the artist. In modern terms, the cartoon is a
humorous illustration or strip of illustrations. In
1841 a series of fi ne-art cartoons was designed
for paintings in the new Houses of Parliament in
London. Th e satirical magazine Punch, founded
in that year, poked fun at the drawings, with
sketches entitled ‘Punch’s Cartoons’.
According to Alan Coren in his foreword to
W. H e w i s o n’s The Cartoon Connection (Elm
Tree Books, 1977), cartoons were born ‘in the far
Aurignacian days of 20,000 BC’, when ‘a squat,
hirsute, browless man one morning dipped his
stick in a dark rooty liquid, bent straight again,
and, on the cave-wall of Lascaux, drew a joke
about men running after buff alo’.
Hewison calls the cartoon ‘drawn humour’
and lists the following cartoon categories: (1)
Recognition humour (where the viewer recog-
nizes the workings of human nature); (2) Social
comment (very often Recognition humour
with a message); (3) Visual puns; (4) Zany (or
screw-ball); (5) Black humour (or sick, or in bad
taste); (6) Geometric (where, for example, lines
are made to fall in love with dots); (7) Faux Naïf
(pretended naïvety) – ‘When an ideas man can
draw but cannot develop a satisfactory comic
style of cartoon drawing, he quite often throws
in the towel and adopts a deliberately childlike
style’; and (8) the Strip cartoon, the originator of
which was Wilhelm Busch (1832–1904).
On the screen, Walt Disney has dominated
the fi eld of the animated cartoon but there have
been many others: Paul Terry’s Te r r y t o o n s, Pat
Sullivan’s Felix the Cat, Tex Avery’s Chilly Willy,
the endlessly warring Tom and Jerry created by
William Hanna, Joe Barbera and Fred Quimby,
along with countless others such as Top Cat,
Scooby Doo and the Flintstones, Walter Lantz’s
Woody Woodpecker and Terry Gilliam’s Monty
Python’s Flying Circus.
Nièpce (1765–1833) in 1826 who fi rst exposed a
metal plate coated with a layer of bitumen to the
image in a camera obscura. Th e light hardened
the bitumen, which was washed away to reveal
the fixed image. Photography, or as Nièpce
termed it, ‘Heliography’ – sun drawing – was
born.
Where the camera obscura possessed a refl ec-
tor, the camera lucida had a prism. When placed
in front of an artist’s eye the prism projects image
onto paper, thus allowing accurate copying.
Campaign Th is term is most often used in the
media-studies context to refer to a conscious,
structured and coordinated attempt at persua-
sion. Th e goals of such persuasion are varied.
advertising campaigns for example aim to
change people’s choice of product or to persuade
them to buy new products.
Election campaigns aim to reinforce or change
people’s voting behaviour. pressure groups
use campaigns to alert the public to a particular
issue, to infl uence the public’s opinion on that
issue, and to mobilize support and pressurize
those in power to take some desired action.
Access to the mass media is often crucial for a
pressure group’s successful campaign. Media
personnel may also initiate campaigns to raise
their audience’s awareness of certain issues –
child abuse, for example. Indeed such campaigns
can be seen as part of the mass media’s agenda-
setting role. One focus for media research
has been the measurement of how effective
campaigns are.
Campaign for Press and Broadcasting
Freedom UK organization founded by John
Jennings in 1979 as a broad-based non-political
party pressure group dedicated to making Brit-
ain’s media more open, diverse and accountable.
It is a stalwart supporter of public service
broadcasting (psb). Th e Campaign publishes
a bi-monhly bulletin, Free Press.
Campaigning See online campaigning.
Captive audience advertising See advertis-
ing: ambient advertising.
Cards See cigarette cards; picture post-
cards.
Caricature A distorted representation of a
person, type or action. Though we generally
associate caricature with humorous cartoons,
the process of distortion has played an important
role in art. Known to the Egyptians and Greeks,
caricature was revived by Italian artists of the
Renaissance and developed throughout Europe
in the eighteenth century. In England artists
such as Rowlandson (1756–1827) combined high-
quality draughtmanship with trenchant social