This lesson explores political cartoons depicting imperialism at the turn of the twentieth century and includes answering questions for each cartoon on separate sheets of paper.
Note: When viewing these cartoons, keep in mind that “a” and “an” are indefinite articles, which do not refer to an exact noun but represent general themes and ideas.
The Sun Never Sets on the British Empire
At its height in the 18th-20th century, the British Empire was so extensive that many would say “the sun never set on the British Empire”. At one time or another, it controlled over 50 territories/countries and 25 percent of global landmass.
At its height, Britain was the world’s largest empire in history. To demonstrate their global power and dominance, this phrase became known as the British Empire; but this label proved problematic since Britain ruled over many people who did not agree with their rule and it employed various techniques ranging from religious suppression, racial discrimination, and even violence to subjugate its colonies.
Imperialists used propaganda as one of the primary tools of their expansionist policies to influence perceptions, alter cognitions, and direct behavior that would benefit their imperial power. Well-crafted propaganda pieces could influence public opinion dramatically during periods of imperial expansion; therefore a great deal was produced during this period.
Propaganda campaigns were frequently directed toward working people, who were particularly susceptible to its messages. Propaganda efforts included radio and film productions as well as various newspapers, pamphlets, and posters with the intention of persuasion.
One Family was an EMB short film produced in 1930 that chronicled one family’s dream of an extravagant King’s Christmas Pudding dessert. They traveled all around South Africa collecting oranges before traveling through Jamaica where he sampled some rum before finally stopping off in India and Zanzibar to gather ingredients before instructing local cooks on how to create this tasty treat.
The film’s message was intended to encourage colonial residents to love and accept British imperial ideas; however, this approach often used fantasy storytelling as an effective cover-up for the British regime’s violence and brutality.
Although much of the British Empire has become independent countries over time, its impact can still be felt today in many different forms.
Uncle Sam Watches Over Cuba and the Philippines
Cartoonists employed in popular periodicals such as Puck, Judge, and the first version of Life dramatized this theme of civilization vs. barbarianism with precision and flair. Cartoonists worked by major world powers often ventured into far-flung lands to spread religions, culture, and sources of power and profits from major world powers like Germany or Russia into distant corners. Cartoonists depicted such adventures vividly.
Anthropomorphizing nations and concepts enabled illustrators to provide an easy narrative for otherwise complex events. An 1899 cartoon based on Kipling’s poem “The White Man’s Burden,” for instance, shows Uncle Sam representing America and Britain’s John Bull with non-white partners each carrying one country from their burden list: Philippines, India, and France are visible behind.
Although this cartoon depicts an upsetting scenario, its “it’s up to them” caption suggests that American enlightenment will prevail against barbarians worldwide. However, whether this uplift comes via force or consent will ultimately be determined by non-whites themselves – though male teachers will probably opt more frequently for violent approaches than their female counterparts.
Harper’s Weekly captured this sentiment in its 1899 cover illustration depicting a classroom scene interrupted by revolutionaries from newly acquired United States territories such as Cuba and the Philippines who violently struggled for self-rule, disrupting classes. Hawaii and “Porto” Rico appear as model students taking lessons, with model students Hawaii and “Porto” Rico appearing as docile girls taking their lessons, while an oversized “Map of the United States and Neighboring Countries”, featuring its overseas territories marked by U.S. flags.
In the Pacific, the United States encountered another formidable rival–Germany’s Wilhelm II was an unforgiving dictator who led Germany into violent and bloody expansion throughout Africa and the Pacific. Political cartoonists frequently depicted Wilhelm as an antagonist; their attacks became increasingly vicious as World War One progressed. Additionally, American cartoonists often depicted Boxer’s rebellion in China as a potential threat to their civilizing mission there.
Hitler Strikes His Blind Side
One cannot overstate the severity of the Holocaust: It marked the first time in modern history that a national civilization plunged so deep into barbarism. Unfortunately, its enormity obscures how the Nazi regime developed; ultimately its structure bears all the hallmarks of imperialism: power struggles that become wars over territory and cultural supremacy; complicity lines; cycles of exploitation and moments of congruence between various players in society.
James Whitman’s “Hitler’s American Model” stands out among recent books on Hitler due to its detailed examination of how Nazis adopted and refined techniques of American racism. Given today’s climate of unapologetic racism and authoritarianism, this work should prove particularly troubling.
But an even more profound insight comes from “Downfall,” which shows just how far Hitler was removed from reality even while leading an epic war effort. The movie follows Traudl Junge – Hitler’s secretary who witnessed both his descent into madness and Nazi rule’s depravity firsthand; she was loyal despite their evil deeds yet could never bring herself to see who Hitler truly was.
In his final weeks of life, Hitler found solace in an inner world where reality and illusion blended to create a menacing mystique that fed off his self-loathing. He would stare blankly into space while staring at maps or shouting ultimatums at dead commanders while counting on imaginary armies to come to rescue him. Additionally, he indulged his fantasies of creating a new Germany where Volga would serve as “our Mississippi,” Poland Belarus Ukraine being settled by pioneer farmer-soldier families from Germany’s past.
Hitler believed, in his madness, that once Germany won its wars, Allied nations would no longer care about what became of Germany’s defeated populations, and mass graves in Soviet Russia would become mere sideshows in their struggle between great empires. All imperial rulers must remain mindful of this potential blind spot: until they recognize their crimes as the source of all evil they risk repeating them.
John Bull as an Octopus
John Bull is the iconic representation of England, often depicted in political cartoons and similar graphic works. Originating in early 18th-century satirical works and becoming synonymous with “English Liberty” against revolutionaries, John became popular through most of the 19th century until World War One broke out, when many no longer considered him to represent common folk.
One of the earliest depictions of Bull as an octopus dates back to 1882 and shows him with arms reaching out across various countries around the globe – an image which vividly conveys “the sun never sets on the British empire”.
This cartoon also suggests that England was willing to use forceful means to achieve their desired goals, something widely supported at the time. This view was certainly shared by many English citizens at that time.
Cartoonists also used an octopus motif to criticize England for its trade monopolies, with this illustration from 1904 showing Jewish bankers acting as tentacles of an octopus extending into England and controlling all major businesses including banking, mining, steel production, shipping and the cooper industry.
Octopus-themed posters also served to attack the United States; for instance, this 1950 poster shows an angry red octopus grasping at an elderly person before threatening to swallow up America.
Mhamdi (2017: 198) states that cartoonists use art as an effective response to current socio-economic and geopolitical events by translating them into culturally familiar images that the public can easily comprehend quickly, thus helping classify, organize, and interpret these events more quickly and accurately.
Within the context of the US-Cuba conflict, this cartoon from Mail & Guardian highlights the irony of America speaking out about democracy and human rights while Guantanamo Bay prison on Cuba Island is notorious for violating such principles. This juxtaposition illustrates that the USA has double standards when it comes to these issues and acts like a global leader while failing to meet its ideals.
