Karin Liebhart ([email protected])
Draft – please do not quote or circulate
Metaphors of the European Financial Crisis: The example of
Cartoons
Karin Liebhart (University of Vienna)
24th IPSA World Congress, Poznan, Poland (25 July, 2016)
Panel RC 22.07 “In View of Politics: Visual Studies in Political
Science”
Introduction – Research Background
The global financial crisis, which erupted in the summer of 2007 and intensified
rapidly did not only put the Eurozone project into severe troubles but also
changed, respectively, reinforced, the mental map of the EU and (anew)
separated economically weaker Southern EU members from stronger Northern
member states.
Accompanied by stereotype populist rhetoric, blame games and finger-pointing
as well as corresponding imagery, Greece and the Greeks frequently stood in
the spotlight and appeared on the title pages of European tabloids and quality
newspapers as well as diverse social media. Plenty of well-known clichés have
dominated both traditional and “new” media coverage of the crisis and
affirmed negative attitudes towards Southern and Eastern EU members, first
and foremost Greece. Relating verbal as well as visual depictions frequently
included stereotypical, discriminatory representations: Across Europe Greeks
were often depicted as incompetent, lazy and idle fellows. Moreover, also the
supposed impact of the crisis and the tough relationship between Greece and
the European Union has been mirrored on both the textual and the visual level.
Against this background the contribution which draws from preliminary results
of an ongoing research project focuses, firstly, on the reconstruction of
respective core motifs and aims, secondly, at tracing the mobility and
transnationality of such motifs.
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Karin Liebhart ([email protected])
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Corpus
Visual representations in political communication constitute a referential
framework for the verbal messages conveyed and help readers make sense of
the news, even if they do not read the accompanying text.1
In terms of research material the paper puts special emphasis on the visual
category “cartoons”, amongst other reasons due to the swift trans-national
spread of this particular type of visual representations.
Cartoons can be defined as ironic or satiric semi-realistic drawings or paintings
and play a significant role in political communication: They present more than
entertainment and always convey opinions pertaining to our social and political
environment. Cartoons can be characterized as meaning-making practices and
signs of collectively shared meanings and their relevant dimensions.
The corpus comprises political cartoons published 2007-2015 relating to the
European financial and economic crisis, and particularly to the impact on the
EU as well as the relationship between the European Union and Greece. Main
emphasis has been put on visual metaphors.2
 Political cartoons aim at getting across its creator’s messages in an
effective way. Usually they want to make a point about a familiar and
readily identifiable subject and the (current or past) context, an issue
that is in the news. Furthermore, they use symbols (the € for the entire
economy) and metaphors (the fortress Europe) as placeholders for ideas
or themes and to express the general through the particular. Captions
serve as a tool to make the meaning even more explicit and clear.
 Metaphors use concrete images to represent more complex
phenomena. The aim is to facilitate understanding of complex
experiences and issues with the help of concepts with which we are
more familiar and which are therefore more easily imaginable. A visual
metaphor can be seen as representation of an idea, a phenomenon, a
thing, or a person by way of a visual image that is said to have substantial
similarity with the respective idea, phenomenon, thing, person.
1
This does not necessarily lead to a deeper understanding of the issues depicted. Griffin (2004) argued that
most news photography reinforces existing ideas and stereotypes rather than revealing new information or
perspectives. The same might be true for political cartoons.
2
The research material collected so far was found while screening online versions of Austrian, German, British,
French and Dutch tabloids and quality newspapers. Conventional websites as well as Facebook accounts of
selected NGOs and initiatives were also included in the process of data collection.
2
Karin Liebhart ([email protected])
Draft – please do not quote or circulate
Methods
The paper chooses a methodological approach that takes into consideration
the specific visual systems of references addressed in each case: “Reading”
images follows the logic of association.
 In a first, quantitative, research step, those cartoons have been
identified which are included in the sample for a more in depth analysis.
The choice is justified by the paradigmatic character of the selected
cartoons and had been made after organizing and categorizing the huge
quantity of material (more than 450 cartoons so far). By using the
software IMatch, computer-assisted systematical coding allowed for
identifying the most relevant visual expressions and motif types.
 Second step: analysis of core visual metaphors while referring to:
 Political iconography which is based on concepts developed in art
history and aims at the interpretation of visual content.3 It has to be
underlined that images circulating in the political orbit cannot only be
“read” in the context of other contemporary images, they also refer
to previous ones that are still stored in an iconic memory.
 Critical discourse analysis which focuses on discursive strategies
which appear in captions, respectively the text in which the relevant
visual metaphor is embedded.
 Third step: conclusion, interpretation > visual framing
Research questions
Especially the following research questions have guided the analysis of the
relevant cartoons:
 What topics do cartoonists touch on in their drawings?
 Which personifications, symbols and metaphors are depicted?
 Which historic and current references are made?
3
Panofsky suggests a three step approach comprising pre-iconographic description
(identification of shapes, forms, colors, motifs, etc.), iconographic analysis (identification of
meanings of the described objects which requires familiarity with specific themes or
concepts), and, finally, iconological interpretation (“What does it all mean?”). The political
scientist Marion Müller (2003, 2004, 2007, and 2011) has added context and frame analysis
and thus further developed the concept to make it applicable also to mass mediated images
which are communicated to the public and feature both historical and actual linkages.
3
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Major metaphors
Preliminary findings suggest that especially the following metaphors seem to
play an essential role in the visual representation of the European financial
crisis.4
 The collapse of a building
 The domino effect
 The earthquake
 The maritime disaster
Since the project is “work in progress” the following section introduces
preliminary results only. However, the examples feature the most meaningful
and at the same time most frequently used metaphors and in either case
provide condensed patterns of interpretation.
The collapse of a building
The ancient example of architecture, usually a temple with pillars (or an ancient
gate as “pars pro toto” for the whole building), usually identifies Greece in
cartoons. In the context of the financial crisis the tumble-down building, which
is close to collapse or has already collapsed, symbolizes the poor and
unfortunate state of the Greek economic and financial system. In some cases
textual elements such as inscriptions or labels, but also captions provide
additional information.
One of the cartoons suggests that the EU does whatever is possible to prevent
Greek economy from falling into ruin.
Another image, nevertheless, points to the hopelessness of the situation from a
European perspective: while representatives of EU member states such as the
then French president and the German chancellor jointly try hard to avert the
collapse of Greece, Italy is also in severe troubles: the Leaning Tower of Pisa is
already toppling over.
The third cartoon again uses the metaphor of the building collapse and
symbolically links the destiny of Greece to the destiny of the entire Eurozone.
4
Also: The Broken € Sign/€ Coin (The Disrupted € Banknote), The Chained Convict
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www.namchiang.com
georgiapoliticalreview.com
www.dailyforex.com
Another cartoon also uses the metaphor of collapse, though it turns out, that
the Greek temple had been destroyed by invisible forces from the outside
(other EU member states? International financial institutions?), which have
stoned the building. In the midst of the scenery (though placed on the left
margin of the cartoon) one can find the former Greek minister of finance, Yanis
Varoufakis, dressed like a court jester and ready to announce economic
reforms.
The proximate cartoon obviously ironically alludes to the “supportive” role of
the EU (the helpless guy on the rock) and the IMF.
www.cagle.com
independentreport.blogspot.com
The Domino (or chain-reaction) effect
An image that appeared in manifold visual representations and has widely been
shared on social media is the metaphor of the so called domino effect, which is
well-known in political discourse since decades.5 Against the background of the
Eurozone crisis it suggests that if one state (Greece) is severely affected by the
crisis, and subsequently tumbles down, naturally, the surrounding countries
5
This metaphor refers to the “domino theory” which traces back to the period of the Cold
War (the decades from the 1950s to the 1980s).
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would follow as shown in the domino game. The result would be the total
collapse caused by the initial crackup of a single state, no matter whether the
domino tiles are arranged in a row, wedged, or in a circle.
………
nhpr.org
www.forbes.com
……...
foreignpolicyblogs.com
www.aei.orgsocialistnetwork
www.advisor.can
The Earthquake
Metaphors which refer to natural phenomena, especially natural disasters are
traditionally common in political rhetoric and imagery. The tempest, the
thunderstorm, the flood, the tsunami, the landslide, the avalanche, the frost,
the ice-age, the large-scale fire, the volcanic eruption, and the earthquake can
serve as prime examples in this regard.
Especially the earthquake metaphor has often been used to describe the fierce
shock the members of the Eurozone and also other EU member countries have
sustained. The map depicts the shaky regions and countries of Europe in detail.
The caption contains the wordplay earthquake/debt quake.
The effects of the earthquake become obvious in the following cartoons. The
earthquake cracks the ground, the resulting cleft and its outshoots threaten to
gobble the Eurozone, which is symbolized by using either the 1€ coin or the €
sign.
www.columnfivemedia.com
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Karin Liebhart ([email protected])
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……..
www.dreamstime.com
……..
www.dreamstime.com........www.123rf.com
The Sinking Ship/The Maritime Disaster
As early as in the 1990s Herwig Münkler elaborated on the metaphor of the
ship of state and the politician as the steersman. In the context of the financial
crisis the ship in distress that appears in a lot of cartoons is either recognizable
as Greece or as Europe.
In the first case, the boat seems to be made of paper that shows the colors and
the pattern of the Greek flag. It is uneven loaded with symbols relating to the
financial sector. The heavy sea and the thunderstorm with flashes and dark
clouds make it very likely that the boat is going to sink and become a shipwreck
soon.
The other vessel symbolizes both the € zone and the entire EU (cf. the € sign on
the front and the blue flag with the yellow circle of stars on top of the steampowered craft). Leading EU politicians are standing close to the railing while the
ship shows a dangerous skew position.
……..
www.ukgeneral.com
http://fatihkansoy.com/euro-tekrar-onarilabilir-mi/
However, the situation of the working vessel called “Europe” is even worse. It
has been overloaded and is already sinking. The small boats that try to tow
away the huge ship won’t make a difference.
The Eurozone vessel is also irrecoverable. The cargo (amongst others a €
piggybank and money bags) is floating in the sea. Two members of the crew,
presumably the captain (Angela Merkel) and the chief officer (Nicolas Sarkozy)
are at a loss with the situation.
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………
www.voxeurop.eu
www.cagle.com600×402Bildersuche
The metaphor of the sinking ship was also used for a poster in the run-up to the
launch of the € in Estonia. The Eurozone was portrayed as Titanic, the caption
reaffirmed the symbolism. The steam that comes out from the four
smokestacks forms the words Greece, Ireland, Portugal and Spain which were
said to be the cause of all troubles. It has to be mentioned in this regard that
the sinking ship as a metaphor has special meaning in the case of Estonia due
to the maritime disaster in 1994 when the ferry “Estonia” sank on the way from
Tallinn to Stockholm and more than 850 people died.
KL
Preliminary Conclusion
Hence, what can we learn from the analysis of political cartoons in terms of the
visual framing of the European financial crises? Cartoons apply symbols,
metaphors, and other iconic depictions that graphically evoke core frames (De
Guzman/Chen 2008, 6). Thus, the analysis of cartoons and the symbols and
metaphors they feature can contribute to a more differentiated understanding
of the discourses relating to the European financial crisis.
First results of the analysis of political cartoons suggest the following:
 Practices of differentiation and othering are mirrored in the sample.
Political cartoons frequently present Greece as the opposite to modern
EUrope – ancient and ruinous, even tumbling down.
 The dominance/submission interpretive frame, establishing a
paternalistic relationship, is also obvious – the EU helps Greece which is
not able to help itself.
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Karin Liebhart ([email protected])
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 The financial crisis as a serious threat which might eventually lure not
only Greece but also the Eurozone or even the entire EU on to
destruction is visualized by means of diverse disaster metaphors such as
the sinking ship, the earthquake, or the domino tile.
Visual framing can be conceptualized as the process of selecting some aspects
of a perceived reality and highlighting them above other aspects. Frames
reference particular ideas and promote specific interpretations,6 rendering
those ideas and aspects more salient and memorable than others. At the same
time, it limits the choice between alternative viewpoints and eventually
suggests “a particular line of reasoning” and, thus, impacts on the shape of
public opinion.
Frames are principles of selection, emphasis and presentation, and serve as a
central organizing story line, link different ideas and provide a “package” for
the audience. Coleman (2013) argues in this regard that visual framing may
actually matter more than verbal framing.
6
The concept dates back to the work of Erving Goffman and his book (1974) Frame analysis: An essay on the
organization of experience.
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