i

UNRAVELING THE HIDDEN MEANINGS IN PICTURES:

A SEMIOTIC ANALYSIS OF ONLINE

CARTOONS

_______________

A Bachelor’s Thesis

Presented to

The Committee of Oral Examiners

J.H. CERILLES STATE COLLEGE

DUMINGAG CAMPUS

Dumingag, Zamboanga del Sur

_______________

In Partial Fulfillment

of the Requirements for the Degree

BACHELOR OF SECONDARY EDUCATION

Major in English

_______________

by

GLAIZA JOY R. SUPAT

MANE ANN E. TANASAC

MARY CLAIRE M. VILLANUEVA

EVA D. SUPAPO

June 2022

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APPROVAL SHEET

This Bachelor's thesis titled, "UNRAVELING THE HIDDEN

MEANINGS IN PICTURES: A SEMIOTIC ANALYSIS OF ONLINE CARTOONS,”

prepared and submitted by GLAIZA JOY R. SUPAT, MANE ANN E.

TANASAC, MARY CLAIRE M. VILLANUEVA, and EVA D. SUPAPO, in

partial fulfillment of the requirements for the degree,

Bachelor of Secondary Education, has been examined and is

hereby recommended for Oral Examination.

___________________ BENJAMIN B. MANGILA, MAEd

Date Adviser

Approved by the Committee of Oral Examiners on June 07,

2022 with rating of ___________.

DARLIN JANE T. BALBASTRO, MAEd

Chairperson

VENUS M. AVENIDO, MAEd ROLIETA N. MATA, MAEd

Member Member

Accepted and approved in partial fulfillment of the

requirements for the degree, Bachelor of Secondary Education.

_______________ REY S. PEPITO, MAEd

Date Program Chairperson, BSEd

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ACKNOWLEDGMENT

The researchers would like to thank the almighty Father

for his knowledge and wisdom which the researchers had

utilized to make this venture a success.

To the Research Committee Chairperson, Mrs. Darlin Jane

T. Balbastro; and Panel Members, Miss. Venus M. Avenido and

Mrs. Rolieta N. Mata, for their honest and constructive

corrections, recommendations, and criticisms, which honed the

researchers’ ability to conduct this study.

To our Thesis Adviser, Mr. Benjamin B. Mangila, for his

unending support and guidance in making this research

possible; and

Finally, to the two satirical Facebook pages, The

Engineering Spectrum and Cartoonist ZACH, which gave their

permission to allow the researchers to use their cartoons as

corpora.

Glaiza

Mane

Claire

Eva

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DEDICATION

This piece of venture is wholeheartedly and proudly dedicated

to all the people who have believed and inspired us to do this

great challenge.

To the Divine Providence, the Lord God almighty, for His

constant greatness, amazing love, guidance, and wisdom.

To our loving parents,

Mr. Jeremias B. Supapo and Mrs. Roberta D. Supapo;

Mr. Edgar G. Supat and Mrs. Algerica R. Supat;

Mr. Maximo R. Tanasac and Mrs. Nena E. Tanasac; and

Mr. Jerry D. Villanueva and Mrs. Mercy M. Villanueva;

guardians, brothers and sisters, relatives, and friends for

their unfailing moral and financial support, and words of

encouragement which have reminded us all to never give up.

To those individuals who have silently continuously inspired

and believed in us, and to those who have never quitted

seeking answers to their questions, this modest work is

dedicated.

Glaiza

Mane

Claire

Eva

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ABSTRACT

Supat, G.J.R., Tanasac, M.A.E., Villanueva, M.C.M., & Supapo,

E.D., (2021)."Unraveling the hidden meanings in pictures: A
semiotic analysis of online cartoons". An unpublished
Bachelor's Thesis. J.H. Cerilles State College – Dumingag
Campus, Dumingag, Zamboanga del Sur.

Adviser: Benjamin B. Mangila, MAEd

Summary

Cartoons, particularly political cartoons are based on

current events which are a graphic representation of the
expressions of the creator’s ideas, opinions and it usually,
but not always, reflects the publication’s viewpoint. This
paper investigated the signs cartoonists used in expressing
their ideas and opinions. It aimed to identify the types of
signs used in the cartoons and their meanings and how they
contributed to the whole message of these cartoons. It was
study anchored on Chandler’s semiotic concepts incorporated
both the Saussurean dyadic concept of signs, signifier and
signified, and the Peircean triadic concept of signs as
symbolic, indexical, and iconic. It also considered Leymore’s
idea of the figure and ground, which identified the primary,
secondary, and tertiary signifiers based on their importance
or impact on these cartoons. The analysis accentuated that
cartoons contain all types of signs - signifiers, primary,
secondary, and tertiary, which work together to effectively
convey the intended meanings and message to its target
readers. These signifiers also possess certain characteristics
as being symbolic, indexical, and iconic and they blend
together and effectively enrich the cartoons’ intended
meanings and message. Furthermore, these cartoons illustrate
the artists as well as the Facebook page perceptions as well
as its stand on various issues and concerns relating or
affecting the community and the whole country. Since these
cartoons were published in a social media platform, it not
only deal with important local issues and concerns but in the
national and global spheres as well.

Keywords: online cartoons, Chandler’s semiotic concepts,

Leymore’s figure and ground, Peircean triadic concepts,
semiotic analysis

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TABLE OF CONTENTS

Page

TITLE. . . . . . . . . . . . . . . . . . . . . . . . . i

APPROVAL SHEET . . . . . . . . . . . . . . . . . . . . ii

ACKNOWLEDGMENT . . . . . . . . . . . . . . . . . . . . iii

DEDICATION . . . . . . . . . . . . . . . . . . . . . . iv

ABSTRACT . . . . . . . . . . . . . . . . . . . . . . . v

TABLE OF CONTENTS. . . . . . . . . . . . . . . . . . . vi

LIST OF FIGURES. . . . . . . . . . . . . . . . . . . . viii

LIST OF TABLES . . . . . . . . . . . . . . . . . . . . ix

CHAPTER

1 INTRODUCTION

Background of the Study . . . . . . . . . . . 1

Statement of the Problem . . . . . . . . . . . 4
Significance of the Study. . . . . . . . . . . 4
Theoretical Framework. . . . . . . . . . . . . 5
Conceptual Framework . . . . . . . . . . . . . 8
Scope and Delimitation of the Study. . . . . . 11
Definition of Terms. . . . . . . . . . . . . . 12

2 REVIEW OF RELATED LITERATURE AND STUDIES

Related Literature . . . . . . . . . . . . . . 14
Related Studies. . . . . . . . . . . . . . . . 19

3 RESEARCH METHODOLOGY

Research Design. . . . . . . . . . . . . . . .
26
Corpora of the Study . . . . . . . . . . . . . 27
Data Collection. . . . . . . . . . . . . . . . 27
Data Analysis. . . . . . . . . . . . . . . . . 28

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4 ANALYSIS AND DISCUSSION

Cartoon Plate 1. . . . . . . . . . . . . . . 30
Cartoon Plate 2. . . . . . . . . . . . . . . 32
Cartoon Plate 3. . . . . . . . . . . . . . . 34
Cartoon Plate 4. . . . . . . . . . . . . . . 36
Cartoon Plate 5. . . . . . . . . . . . . . . 39
Cartoon Plate 6. . . . . . . . . . . . . . . 41
5 SUMMARY OF FINDINGS, CONCLUSIONS AND RECOMMENDATIONS

Summary . . . . . . . . . . . . . . . . . . 44
Findings. . . . . . . . . . . . . . . . . . 44
Conclusions . . . . . . . . . . . . . . . . .
44
Recommendations . . . . . . . . . . . . . . .
45
LITERATURE CITED. . . . . . . . . . . . . . . . . . . . 46

APPENDICES

A List of Online Cartoons . . . . . . . . . . . . .

49
B Pictorials. . . . . . . . . . . . . . . . . . . .

55

CURRICULUM VITAE . . . . . . . . . . . . . . . . . . . .

57

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LIST OF FIGURES

Figure Page

Cartoon Plate 1. . . . . . . . . . . . . . . .

30

Cartoon Plate 2. . . . . . . . . . . . . . . .

32

Cartoon Plate 3. . . . . . . . . . . . . . . .

34

Cartoon Plate 4. . . . . . . . . . . . . . . .

36

Cartoon Plate 5. . . . . . . . . . . . . . . .

39

Cartoon Plate 6. . . . . . . . . . . . . . . .

41

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LIST OF TABLES

Table Page

Signifiers and Signified of Online Cartoon 1 . . . . 30

Signifiers and Signified of Online Cartoon 2 . . . . 33

Signifiers and Signified of Online Cartoon 3 . . . . 35

Signifiers and Signified of Online Cartoon 4 . . . . 36

Signifiers and Signified of Online Cartoon 5 . . . . 39

Signifiers and Signified of Online Cartoon 6 . . . . 42

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Chapter 1

INTRODUCTION

This chapter presents the background of the study,

statement of the problem, significance of the study,

theoretical framework, conceptual framework, scope and

delimitation of the study, and definition of terms.

Background of the Study

A picture is worth a thousand words (Mesina & Recio,

2012), which means that a picture may convey an idea more

quickly and effectively than the written word. For this

reason, editorial cartoons play an important role in a

newspaper. According to Lawate (2012), editorial cartoons in a

newspaper are social, political, and economic monitors of the

occurrences in the country and the world reflecting the scenes

from the cartoonist’s surroundings. A cartoon has been defined

by Low, D. and Williams., 2000 as "a drawing, representational

or symbolic, that makes a critical, witty or humorous point.”

Editorial cartoons' currency and their conveyed messages

are what makes it different from the other caricatures that

can be found in the newspaper. The term “editorial cartoon” is

sometimes referred to as a “political cartoon or a newspaper

cartoon.”

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According to Osuagwu (2012), cartoons are used in the

media as one of the devices for attracting attention and

facilitating meaning comprehension in editorials. Political

cartoons which are now commonly known as "editorial cartoons"

have established the powerful role that they play in shaping

public opinion (Mangila, 2021). Therefore, Editorial cartoons

are cartoons that express the cartoonist’s viewpoints through

his or her drawings, cartoons to be exact

Cartoons mostly consist of two elements: caricature and

allusion. A caricature is defined as a visually entertaining

technique of blowing up or shrinking down a real person’s

distinct features. On the other hand, allusion is a casual

reference to a situation in which cartoonists use symbols

and/or words to mock a political situation.

Furthermore, cartoonists mostly use five elements to

convey their points of view: symbolism, captioning and labels,

analogy, irony, and exaggeration. However, not all cartoonists

use all of these elements in one blow; some use only three

while others use only two and so on.

The primary function of the cartoon is communication. In

line with that, in order to broaden and widen the knowledge

and understanding towards how cartoons functions as

communicative tool and how it shape one's view towards a

certain issues or event, this study was put to light.

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This study aims to understand signs cartoonist use in

their cartoons and how those signs conveys messages towards

current issues and how it makes the whole cartoons meaningful

through analyzing, understanding and interpreting its used

signs, the meanings of signs, and the interaction of signs a

cartoons has as it offers a brightly colored alternative to

formal news reporting, providing light relief from the ever-

increasingly gloomy political discourse.

In addition this study was also conducted to understand

the underlying message conveyed by those cartoons through

semiotic analysis. Semiotic analysis is the study of signs and

their meaning relating to the social world and social

processes. Semiotic theory is defined as “a unified approach

to every phenomenon of signification and/or communication”

(Eco, 1976, p. 3). “Semiotics is concerned with everything

that can be taken as a sign. A sign is everything which can be

taken as significantly substituting for something else” (Eco,

1976).

By analyzing cartoons from different sources of artist,

it may be possible for someone to get a clear glimpse of what

signs have shaped one's work to make it persuasive to the

readers and viewers. Although cartoons lack of specific

details and sufficient contents to tell a whole story, they do

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give hints on significant social and political developments

(Mesina & Recio, 2012).

Statement of the Problem

This qualitative study analyzed the cartoons that were

found in two Facebook satirical pages, “Cartoonist ZACH” and

“The Engineering Spectrum.”

Specifically, it intended to answer the following

questions:

1. What types of signs are used in the cartoons presented in

the Facebook satirical pages?

2. What are the meanings conveyed by these cartoons to their

readers?

Significance of the Study

The findings of this study would deem to benefit the

following groups of people due to several reasons:

Cartoons Readers. This would give them knowledge and help

them understand the cartoons found online particularly on

Facebook. This would inform them on what are the signs used in

the cartoons they have seen on Facebook and further understand

the underlying meanings conveyed by these cartoons.

Cartoonists. This study would also benefit the

cartoonists by exposing them to various cartoons drawn by

their co-cartoonists. Aside from that, this would also help

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them gain new ideas and a deeper understanding of what are

those hidden meanings each picture or cartoon a cartoonist

draws.

Facebook Users. This study would allow Facebook users to

examine the persuasive techniques cartoonists use to change

people's minds. This would also expose them to various

editorial cartoons and their corresponding hidden meanings.

Researchers. They would also be able to deeply understand

the reasons why this study conducted. Aside from that, this

study would also expose the researchers to various cartoons

that could be found online and the intended meanings they

wanted to convey.

Theoretical Framework

As an art, a cartoon uses signs to express meanings. A

sign can be a word, a sound, or a visual image. It is an

object which stands for another to someone’s mind. Eco (1976)

defines a sign as everything which can be taken as

significantly substituting for something else. It may refer to

an action, object, or image that means something to someone

somewhere. It ranges from our gestures to what color of the

dress we wear, and it may have meaning beyond the object

itself. Thus, the meaning behind any sign must be learned

(Lester, 1995).

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The analysis of cartoons in this study was guided by

Chandler’s semiotic concepts which incorporate both the

Saussurean dyadic concept of signs, composed of the signifier

and signified, and the Peircean triadic concept where signs

are classified based on certain characteristics they possess

as being symbolic, indexical, and iconic. Chandler also

considered Leymore’s (1975) idea of figure and ground where

the signifiers are identified as primary, secondary, and

tertiary based on the impact they make to the cartoons. As

defined by Saussure (1965), a sign is composed of a signifier

and a signified. This dyadic concept is made up of the form

which the sign takes (signifier) and the concept it represents

(signified). A sign is a distinct combination of a signifier

with a particular signified. The signifier is the form whether

a picture or a letter forming a word as long as it is the

“material” element that serves as a representation of a

person’s sensory. Meanwhile, the signified is the concept in

mind. It is referred to as the notion of the thing and not the

thing itself (Chandler, 2011). De Saussure’s concept of a sign

means that the signifier is the representation and the

signified is the meaning behind that representation.

The signifiers in these cartoons were identified as

primary, secondary, and tertiary signifiers based on their

level of importance or impact in the cartoon. This was based

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on the main characters of the cartoon on which the theme is

focused. These signifiers were primary because they are the

main objects of the cartoons while secondary signifiers

support the primary signifiers. The tertiary signifiers, then,

tied the primary and secondary signifiers, establishing a

relationship among the signifiers. The cartoonist drew the

primary signifiers as “foregrounds”. Chandler mentioned

Leymore’s (1975) idea of figure and ground which states that

selective perception allows “foregrounding” and

“backgrounding‟ dominant figures. The figure or “foreground”

is considered as primary signifiers while the ground or

“background” images and texts are referred to as secondary and

tertiary signifiers. Thus, this creates the format of primary,

secondary, and tertiary signs in the analysis.

The signifiers are identified the way they are found in

the cartoons, often in capitalized and bold form. Several of

the signifiers have signifieds or meanings similar to their

form (signifier) because of how they are utilized in the

cartoon. Also, the “the” article is often used in the

signifieds (meaning) of the sign for the reason that it

provides distinction. When “the” is used, the reader or

audience is instructed to locate the object being referred to

in the same shared mental set of objects. The instruction to

locate this object has a situational-cultural, a textual, or

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structural basis (Hawkins, 1975 as cited by Murcia & Freeman

2010). In the analysis, the article “the” has a structural

relationship with the signifier. It points out to the audience

that the signifier being referred to is the one that can be

seen in the editorial cartoon.

The symbol/index/icon triadic concept based on Pierce’s

(1867) perception of a sign which was cited by Chandler (2011)

in his semiotic concepts shall also be considered in this

study. Initially, he defines a symbol as a form of a sign that

is conventionally used and is given meaning by the means of

habit, for example, linguistic symbols such as letters.

Meanwhile, a sign perceived as an index depends upon the

association by contiguity which means that resemblance to the

object it represents is not necessary but reflects what it

does, is, or has. Lastly, an icon is a replication of an

entity mainly by its similarity. However, there are no “pure”

icons considering that a part of something resembling its real

form is also an icon. Aside from analyzing the signifiers

present in editorial cartoons, this study also aims to reveal

the signifieds (meanings) conveyed by the editorial cartoons

to their readers.

Conceptual Framework

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Considering Chandler’s concepts of semiotics, this study

aimed to analyze and reveal the meanings of the editorial

cartoons presented in two Facebook satirical pages using both

the Saussurean dyadic concept of signs which is composed of

the signifier and signified, and the Peircean triadic concept

which classifies the signs based on certain characteristics as

being symbolic, indexical, and iconic. Furthermore, it

considered Leymore’s (1975) idea of figure and ground which

categorizes the signifiers as primary, secondary, and tertiary

signifiers based on their level of importance or impact to the

editorial cartoons.

The concept of this study is clearly shown in a schematic

diagram presented on the next page which illustrates the

relationship among the variables identified in this study.

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Figure 1. The Schematic Diagram of the Study

Scope and Delimitation of the Study

This study analyzed the cartoons presented on Facebook

and the intended meanings they wanted to convey. The cartoons

which were analyzed were randomly selected from two Facebook

satirical pages, “ZACH Cartoonist” and “The Engineering

Spectrum”, having published from the month of January to

December 2021 which contained the following issues; Health,

Education and Corruption.

They were selected using the following inclusion

criteria:

a. Published and posted from January - December 2021;

b. Must contain the following themes; health, education,

and corruption;

c. Cartoons must be owned by the Facebook page itself not

from other parties; and

d. The cartoons might either be in colored or black and

white form.

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They were not selected due to the following exclusion

criteria:

a. Published and posted cartoons outside the given time

frame;

b. Cartoons with themes which were not related;

c. Cartoons which were shared by the Facebook page

newsfeed; and

d. Cartoons that were not approved to use by the Facebook

page admins and artist were not acceptable to be used as

corpus.

Definition of Terms

For the purpose of clarification, the following terms

have been defined conceptually and/or operationally:

Artwork. Refers to illustrations, photographs, or other

non-textual material prepared for inclusion in a publication.

Caricature. A picture, description, or imitation of a

person in which certain striking characteristics are

exaggerated to create a comic or grotesque effect.

Cartoon. Refers to graphic expressions of the creator’s

ideas and opinions or reflects the publication’s viewpoint.

Foreground. The part of a view that is nearest to the

observer, especially in a picture or photograph.

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Icon. Meant as a direct imitation of the object or

concept. Icons bear a physical resemblance to what's being

represented.

Index. A phenomenon of a sign pointing to (or indexing)

some object in the context in which it occurs.

Political Cartoon. A cartoon that makes a point about a

political issue or event.

Satirical. A genre of visual, literary, and performing

arts, usually in the form of fiction.

Semiotics. Refers to an investigation into how meaning is

created and how meaning is communicated. Its origins lie in

the academic study of how signs and symbols (visual and

linguistic) create meaning.

Sign. Pertains to anything that communicates a meaning

that communicates a meaning that is not the sign itself to the

interpreter of the sign.

Signified. The concept that a signifier refers to.

Signifiers. Any material thing that signifies, e.g.,

words on a page, a facial expression, and an image.

Symbol. Symbols are at the opposite end of icons. The

connection between signifier and signified in symbols is

completely arbitrary and must be culturally learned.

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Chapter 2

REVIEW OF RELATED LITERATURE AND STUDIES

This chapter presents the related literature and studies

that have been reviewed by the researchers which have a direct

bearing on the present study.

Related Literature

Oxford Advanced Learner’s Dictionary (2021) defines a

cartoon as “an amusing drawing in a newspaper or magazine,

especially the one about politics or events in news.” The

cartoon is often called a non-realistic or realistic type of

drawing. The concept of cartoons came into being during the

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middle or dark ages and it was considered a piece of art

painting, fresco, tapestry, etc. but later on, it was

considered as a means of satire and humor. In 1843, a cartoon

was considered an ironic or comical picture in periodicals and

newspapers.

In the early 20th century, it was considered as animated

films like printed cartoons. While in the case of the socio-

political cartoon, it is considered as a medium of graphic

representations of public figures with the expression of the

editor’s opinion. The cartoons typically contain artistic

skills to portray an image of public interest ranging from

religion, philosophy, and history, economy to politics,

health, and law. These cartoons satire the existing norms of

society and cultural practices (directly or indirectly).

Another important aspect of political cartoons is that they

assist us in comprehending what is going on in the social,

religious, and political realms. They expose the current

social ills in a satirical manner. They deliver the sharpest

and most succinct criticism. The dual faces of people are

caricatured using this technique. They are recognized as a

sort of pictorial language, and the main issues they address

are politics and culture.

According to Zyglis (as cited in Mushohwe, 2011), an

editorial cartoon consists of two main elements: graphic art

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and commentary. However, this definition is too broad, as it

includes other types of graphic art such as comics and

advertisements. Scholarly research into editorial cartoons, or

cartoons in general, is a relatively new phenomenon. Zyglis

(2003) added that “a work of graphic art with commentary is an

editorial cartoon only if its commentary conveys a distinct

editorial message portrayed in a clever or witty manner.”

Although the preceding explanation appears to set the

editorial cartoon apart from all other forms of graphic art,

it is not without flaws. Political themes have been

incorporated into some works of comic art, blurring the line

between comic art and editorial cartooning.

Editorial cartoons are rich not only in lines and

graphics but also in history. It began with Leonardo da Vinci,

Pieter Bruegel, and Albrecht Durer, who experimented with

grotesque heads which are very similar to what we now refer to

as caricature.

According to Markow (as cited in Mesina & Recio, 2012),

it blossomed with the introduction of lithography, which

provided a style that was ideal for political cartooning. The

popularity of editorial cartoons has continued throughout

history. Editorial cartoons have several characteristics that

distinguish them from other forms of cartooning. Furthermore,

an editorial cartoonist who has the support of the free press

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will be extremely powerful (Cagle & Farrington, 2007).

However, the effectiveness of editorial cartoons necessitates

several characteristics. Fine drawings, brilliant satire, bold

rich tones, invented symbols, and direct technique are also

required in cartoons. Being a cartoonist also necessitates

being a strong draftsman with a strong understanding of

character and caricature, as well as the ability to treat

humor seriously and vice versa (Markow, as mentioned in Mesina

& Recio, 2012).

In his descriptive content analysis, Hagape (1994)

discovered that cartoons mostly used humorous themes to get

their messages across. Furthermore, according to Bismonte

(1992), editorial cartoons must speak for themselves, and

political cartoonists must convey a message in a single frame.

Bismonte's concept of an effective editorial cartoon was

backed up by the mere fact that a good editorial cartoon

should be able to strongly stand on its own and be more than a

graphic representation of the editorials with which it shares

the same page (Editorial Cartooning, 2001).

Markow (as quoted in Mesina & Recio, 2012) was backed up

by a later study that stated that political cartoons must have

humor, but only if they also have substance because a humorous

editorial cartoon with no substance is just that: a cartoon

(Editorial Cartooning, 2001). Cua (1982) focused on the themes

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of political or government affairs, crime, and contemporary

social conditions, which were prevalent in editorial cartoons

at the time. It must present sharp vital themes with deep

meaning, according to Becker (as cited in Cua, 1982). A

caricature that deals with an old event that has no current

political relevance, according to Becker, loses its impact. It

is worth noting that researchers find editorial cartoons to be

more eloquent to read than the actual editorial. Cartoons,

according to Stantis (as cited in Cagle & Farington, 2007),

can depict an issue in “high-definition clarity better than

10,000 words.” Readers are wary of wading through columns of

print, and editors are well aware of this (Hoff, 1966).

A serious political issue presented in the form of a

cartoon, according to Brinkman (as cited in Cua, 1982), would

“drive its message home to the minds of the larger circle of

average men and women, more than what long cold columns of

black and white editorials can achieve.” “While it is more

difficult to repeat the written word or banner headline a few

days after its appearance,” Milankovitch (as mentioned in Cua,

1982) added, “the impact of an arresting cartoon may linger

longer.” “The attraction of the picture that is compared to

that of the printed word is such that its mere sight amidst a

sea of print is likely to excite the reader's pleasure,” Cua

(1982) continued.

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An editorial cartoon that is paired with an editorial

text serves as an extension of the text, capturing an event or

situation that would take many words to describe. Finally, Cua

(1982) stated that "its meaning can be easily understood"

because it is "a pictorial mix of fact and fantasy liberally

interspersed with humor."

The role that editorial cartoons play in the field of

journalism is not to be underestimated for they offer very

varied insights and may, eventually, change beliefs and

opinions, influence politics, spark discussions and give life

to ideas. The primary intention of editorial cartoons is to

stir changes in the social, political, and economic status of

a country. As Hoff (1966) said, political cartoonists’ views

have to coincide with that of the paper. Bismonte (1992)

supported this, saying that the task of the cartoonist is to

convey a message in just one frame, and as the message becomes

more complex, the job multiplies its nature of difficulty.

However, there may be instances where editorial

cartoons, which are reflective of the newspaper’s stand, are

not able to fulfill their primary intention of stirring

changes in a particular aspect of a country. As Batnag (1990)

concluded in her research, “while cartoons can be used as a

gauge of public opinion, they do not, probably cannot,

accurately reflect public opinion.”

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Selected local studies have indicated that institutional

pressures, also known as editorial policies, change cartoon

elements, thereby creating an avenue for deliberately

manipulated meanings (Billoso, 1991; Campos, 1986; Casimiro,

1988; Lopez, 2008). Casimiro (1988) stated that editorial

cartoons are not merely agents for the creation of comments

and criticism, but they also serve as “indices” to the

editorial policies of the publications in which they are

printed.

Related Studies

The term “catroon”, according to Arko and Asif (2012) was

used to refer to drawings painted on walls or pieces of glass;

it was also intended to indicate humorous drawings in

magazines as well as in newspapers since the 19th century.

Recently, cartoonists have produced creative paintings of

cartoons to indicate caricature, satire, or humor. At the

beginning of the 20th century, the meaning of cartoons started

to refer to television programs, comic strips, and animated

films. Cartoons, which have the forms of drawings, symbols, or

representations referring to humorous, witty, satirical or

different situations, might have different kinds of

interpretation.

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According to Edwards (2007), “editorial cartoons have an

unchallenged history as a unique and important participant

artefact in political and cultural discourses.” In journalism,

they offer varied insights and may eventually alter beliefs

and opinions, influence politics, trigger discussions, and

give life to ideas (Mangila, 2021). Editorial cartoons, whether

part of a news publication or a personal work uploaded on

social media are “intended to make readers think about current

political issues” (Ohio State University, 2020, para. 1) and

direct public opinion. Through the use of caricatures,

stereotypes, symbols, analogies, and humor, editorial cartoons

“express a recognizable point-of-view or opinion” (para. 3).

Ladrido’s (1973) findings backed this up as well, as she

found out that some readers actually see editorial cartoons as

glimpse to a newspaper’s editorial guidelines. Lopez (2008),

on the other hand, discovered in her content and semiotic

analysis that cartoon artists’ opinions are “screened” by

editorial policies and are “packaged” in such a way that the

cartoonist’s opinion will hark back to the editorial policies

and stand of the newspaper or publication. She also found out

that there are some cartoonists still, who hold their ground

in their opinions as represented by their illustrations.

However, most often than not, the cartoonists’ opinion still

has to correspond to the newspaper he works for.

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Thus, the intervention of editorial policies should guide

the cartoonist how to “package” his message in a manner

understandable to the public and agreeable to his editors.

Some studies have disputed this answer though, rebutting the

existence of institutional pressures as changing agents in the

opinion reflected by the editorial cartoon.

In Mangila (2021) semiotic analysis, it shows that

editorial cartoons contain all types of signifiers, primary,

secondary, and tertiary, which work together to effectively

convey the intended meanings to its target readers. In

addition, it was revealed that these signifiers possess

certain characteristics as being symbolic, indexical, and

iconic and they blend together to enrich the editorial

cartoons’ intended meanings. Furthermore, these editorial

cartoons also illustrate the newspaper’s perceptions as well

as its stand on various issues and concerns relating or

affecting the students and the whole academic community.

Although these editorial cartoons are only published in the

campus newspaper, they do not only deal with important local

issues and concerns but in the national and global spheres as

well.

In relation to that, Mwetulundila and Kangira (2015)

believed that print media semiotic discourses command their

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own place and can engage the audience more than printed words.

They carry layers of meanings and are culturally oriented.

Besides proving humor, they criticize politicians as well.

Another significant feature of political cartoons is that they

help us understand what goes around us in social, religious,

and political domains. In a mocking manner they unveil the

prevalent social evils. The criticism through them is the

briefest and sharpest. Through this technique the dual faces

of the people are caricatured. They are regarded as language

in graphic form and the prominent themes they deal with are

related to politics and culture.

Chandler(2017) qoutes Umberto Eco that ‘semiotics is

concerned with everything that can be taken as a sign’. The

traditional definitionof sign ‘ something which stands for

something else’. Chandler(2017) The study of medical signs

started from the time of Hippocates that was later on

developed by Galen in 129 CE. The Stoics can be regarded as

the one who introduced the theory of signs. However, the

origin of general sign theory dates back to medieval time in

which philosopher and theologian Hippo introduced this theory.

The two contemporary theories of semiotic stem from the works

of Ferdinand de Saussure and Charles Peirce. These two

linguistics and philosophers are called the co-founders of

modern semiotics.

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Signs take the form of images, sounds, odours, flavours,

words, events and actions. Peirce says that nothing is sign

unless it is interpreted as sign. Daniel Chandler (2017)

represented the model of sign as a sign signifies three

things. These things include sense, meaning, and reference.

Language is a system of signs and this system is based on the

idea of signifier and signified. In modern linguistics,

signified is considered as meaning. Eco (1979) sign is

something which is embellished by the number of ideologies and

significance. Study of signs requires special knowledge and an

attitude towards the system of linguistic signs which carry

some meanings. The use of signs and symbols in different field

of studies has been identified with special reference to

semiotics. Newspapers use semiotics to infer some meaning and

ideology through the use of signs and symbols.

Several studies have shown that institutional

pressures, also seen as editorial policies, modify

cartoon elements, thus creating an avenue for purposely

manipulated meanings (Billoso, 1991; Campos, 1986;

Casimiro, 1988; Lopez, 2008). Casimiro (1988) argues

that editorial cartoons are not simply agents for creating

comments and criticisms, but they also act as “indices” to

editorial policies of publications where they are printed.

Lopez (2008) noticed in her content and semiotic analysis

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that cartoonists’ opinions are “screened” by editorial

policies and are “packaged” in such a way that the

cartoonist’s opinion would heed to editorial policies and

stand of the publication or newspaper. She also found that

some cartoonists who still hold their ground on their

opinions as reflected by their illustrations. However,

most often than not, the cartoonist’s opinion still has

to correspond to the newspaper he or she works for. As Hoff

(1966) says, political cartoonists’ views must also coincide

with that of the newspaper.

Talking about cartoons in newspapers they said that these

semiotics help to interpret the social changes happening in

the society. Through humourous tone they mock the social evils

and display the realities. The semiotics of newspapers are

considered as language in form of graphic and the prominent

themes they deal with are related to society, culture and

politics. Media semiotics are the ways of information and

communication. Their sole purpose is to educate masses and

spread awareness about a particular phenomenon (Alkhresheh,

2020). Sapir (1921) argued that every pattern of cultural

significance and individual act of cultural behavior is based

on communication explicitly or implicitly. In this way it is

important to say that language is an important way of

communication which includes verbal communication. It is also

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pertinent to say that people not only communicate through

linguistic or verbal means, communication is also carried out

through non- verbal ways of communication and one of such

communication is communication through signs and symbols.

Meta- linguistic ways of communication expand our idea of

language and its importance in our life. Jakobson (1975)

argued that semiotics can be discussed in meta-linguistic

properties of language.

Talking about newspaper semiotics, Kress & Van

Leeuwen(2006) suggested that semiotics of newspapers provide

an in-depth knowledge of the social realities in the society.

New semiotic discourses are contributed by social, cultural

and economic realities. These semiotics decide new dimensions

and prospects of the social reality. Van Dijk (1998) shares

the view that method of word- picture combination is very

popular to address certain ideologies through media and to

propagate such ideologies meaningfully.

Chapter 3

RESEARCH METHODOLOGY

This chapter provides information on the corpus utilized

and it also gives an outline of the research method followed

in this study. The instrument for data collection that used

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and followed to carry out this study is also presented and

described in this chapter.

Research Design

This study utilized the qualitative method, particularly

the semiotic analysis in analyzing the cartoons published in

the two selected satirical Facebook pages.

It made use of Chandler’s (2011) concepts of semiotics

which incorporated both the Saussurean dyadic concept of

signs, the signifier and the signified, and the Peircean

(1867) triadic concept of signs as symbolic, indexical, and

iconic. Utilizing Chandler’s (2011) semiotic concepts, the

signifiers were first identified as primary, secondary, and

tertiary, and were then classified as symbolic, indexical, and

iconic. Furthermore, it aimed to reveal the meanings conveyed

by cartoons to their readers.

Corpora of the Study

The of data analyzed in this study were the selected

cartoons published in two satirical Facebook pages, Cartoonist

Zach and The Engineering Spectrum from January to December

2021. The researcher had chosen these two satirical Facebook

pages with 63k followers for Cartoonist ZACH and 15k likes for

The Engineering Spectrum a suggested by an instructor who has

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published a paper on editorial cartoons. Aside from these two

satirical Facebook pages being influential, the artists

featured some of the cartoons for easy access.

A total of 6 cartoons which covered three issues on

health, education and corruption were analyzed by the

researchers. The cartoons published from the two satirical

Facebook pages were downloaded with permission from the page

admins and their respective artist.

Data Collection

In collecting the corpus to be analyzed in this study,

the researchers first had to ask the Facebook page admin and

its artists regarding the use of their cartoons. This was done

through messaging the Facebook page admins. If the admins

approved the use of their artist works, the researchers then

logged in to their respective Facebook accounts using their

laptops and mobile phones. They then browsed through the pages

of ZACH Cartoonist and The Engineering Spectrum to find

cartoons that were appropriate for analysis. Selected cartoons

were then saved or photographs of them were taken,

particularly through screenshots and then sent them to the

Facebook admin for checking and clarifications of their artist

work to be used. Once the admin approved the selected

cartoons, researchers then started to analyze these corpus.

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Data Analysis

After collection, the cartoons were analyzed by the

researchers using Chandler’s concepts of semiotics which

incorporated both the Saussurean dyadic concept of signs that

is composed of the signifier and the signified, and Peircean

triadic concept which categorized the signs based on certain

characteristics as being symbolic, indexical, and iconic. It

utilized Leymore’s (1975) idea of figure and ground which

allows the “foregrounding” and “backgrounding” of dominant

figures. The figure or “foreground” is regarded as primary

signifiers while the ground or “background” images and texts

are secondary and tertiary signifiers. Thus, it creates the

format of having primary, secondary, and tertiary signs in the

analyses.

In the first level of analysis, the researchers

identified the signifiers that were found in the cartoons as

primary, secondary, and tertiary signifiers based on their

level of importance or impact they make to the editorial

cartoon. Meanwhile, in the second level of analysis, the

researchers classified the signifiers as symbolic, indexical,

and iconic based on the certain characteristics they

possessed. Moreover, in the third level of analysis, the

researchers revealed the meanings (signifieds) that were

conveyed by the cartoons to their readers.

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Chapter 4

ANALYSIS AND DISCUSSION

This chapter contains the detailed analysis and

discussion of the corpus analyzed in this study.

Semiotic Analysis of Online Cartoons

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Figure 1 generate the first online cartoon analyzed in this

study.

Figure No. 1

Table 1. Signifiers and Signified of Online Cartoon 1

Level of Importance Classification Signified

Primary: Ph Loans Symbolic
President Malversation
Secondary: Rodrigo R. Iconic of CoViD-19
Duterte Funds
Tertiary: ECQ Symbolic

In the first level of analysis, Ph Loans is identified as

the primary signifier. Ph Loans in this cartoon signifies the

debt, particularly loans borrowed by the Philippine Government

as response for the COViD-19. The secondary signifier is

depicted by the image of the current Philippine President

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Rodrigo R. Duterte who is seen having a birthday cap on his

head and holding a cake. Lastly, the tertiary signifier is the

word ECQ (Enhanced Community Quarantine) which has been

implemented during the rise of COVID-19 cases in the

Philippines.

In the second level of analysis, it shows that this

cartoon has used two signs; symbolic, and iconic. The primary

signifier, Ph Loans is symbolic because it uses conventional

signs for words. The secondary signifier, Philippine President

is iconic as it resemble the Philippine President, Rodrigo Roa

Duterte. Lastly, the tertiary signifier. ECQ is symbolic as it

symbolizes the struggles of Filipinos during pandemic.

Overall, this cartoon has very intriguing message. It

denotes the real situation in Philippines during the pandemic

wherein, it depicts the reality of COViD-19 funds

malversation. This image also mirrors the reality wherein a

person in public office who are in a position of trust are

more highly to covet corruption. When the enhanced community

quarantine has been implemented, many of the Filipinos have

suffered the most. The only hope they have is the help given

and offered by the government however, not everyone has

received it. The government has plenty of funds intended for

this crisis but some of them never reach the people. Therefore

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the enhanced community quarantine, both brings positive and

negative impact to the people wherein this implementation had

save them from the infection of COViD-19, yet on the other

hand, it also caused them to suffer from hunger due to

financial instability. The people in power in this crisis had

gained more as they have taken other shares and used it for

their own benefits while the rest of the Filipino people had

suffered because of them.

Figure 2 generate the second online cartoon analyzed in this

study.

Figure No. 2

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Table 2. Signifiers and Signified of Online Cartoon 2

Classificat Signified
Level of Importance
ion
1. PhilHealth 1. Symbolic
Funds
Primary:
Corruption
2. Crocodile 2. Symbolic of
PhilHealth
Secondary: Filipino people Iconic
Funds
Medical
Tertiary: Iconic
professionals

In the second cartoon, there are two primary signifiers,

PhilHealth Funds and Crocodile. The Philhealth Funds represent

the budget the government has allotted for the people

suffering COViD-19 and also for the frontliners who are in the

frontline battling this deadly virus. The crocodile, on the

other hand, represents the corrupt person who is in public

office who is given the authority to distribute the PhilHealth

funds to the people and frontliners. The secondary signifier

in this cartoon are the Filipino people which was represented

by a sick man in the image. The sick man shows the struggles

of the Filipino’s during the pandemic. On the other hand, the

tertiary signifier were the Medical professionals who among

the rest of the frontliners are the one who were closely

battling the invisible enemy day and night. The medical

professionals has given and sacrifices their life in order to

save the people, however, the intended funds for them and for

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the people were being taken away by those who were entrusted

to disseminate it. In the second level of analysis, the

primary signifiers are both classified as symbolic as it

symbolizes money and corruption. On the other hand, the

secondary and tertiary signifiers are classified as iconic as

they truly represent an existed lived experiences of Filipino

people and medical professionals during COViD-19 outbreak.

This image depicts the corruption of PhilHeath funds

which was experienced by the Filipino people during the surge

of the deadliest pandemic that has strike the whole world.

Aside from the virus itself who causes various sickness to

people, those corrupts individuals who were also public

servants has made the many of the Filipinos’ suffered even

more.

Figure 3 generate the second online cartoon analyzed in this

study.

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Figure No. 3

Level of Importance Classification Signified

Primary: Press Freedom Symbolic
Suppression of
Secondary: Politician Iconic Free Press in
the Philippines
Tertiary: Podium Iconic
Table 3. Signifiers and Signified in Online 3

The primary signifier in this cartoon is press freedom

because it is the first idea that the cartoon wants to convey.

This signifier were words were written in all capital letters.

Press freedom here represented by a bird which is being

silenced by a man through choking its neck to prevent it from

singing. The secondary signifier, on the other hand is the

politician who is standing on a podium and is holding the

eagle. Lastly, the tertiary signifier is the podium which

serves as a small platform used by the politician in

delivering his message.

In the second level of analysis, this cartoon uses

symbols and icons. The primary signifier is symbolic as it

symbolizes the freedom to express opinions and share

information freely using media and the right to receive such

publications. The secondary signifier, Politician is iconic as

it uses an image of a politician who’s probably delivering his

speech. The tertiary signifier, Podium is also iconic as it

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also resembles the use of an image of a podium which is used

by politicians when delivering his/her message.

This cartoon signifies the suppression of free press

in the Philippines where in Philippine press freedom has a

long history that some unlawful acts before continually

happenings until now. This may because of those politicians

who want to stop the press from spilling the tea.

Figure 4 generate the second online cartoon analyzed in this

study.

Figure No. 4
Table 4. Signifiers and Signified in Online 3
Level of Importance Classification Signified
1. Teachers 1. Symbolic Education
and Iconic in
Primary:
2. Symbolic Today’s
2. Students and Iconic Society

Secondary: Instructional Iconic

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materials
(laptops, papers)
Perspective
Tertiary: (Expectation vs. Symbolic
Reality)
This cartoon has two primary signifiers, the teachers and

the students. The image above presents the expected scenario

during the new normal education. It is expected that during

the new normal education, both teachers and students can relax

and will have more time doing their daily routines at home

compared to face-to-face class. However, in reality, it is far

what is expected. Instead of studying and working peacefully,

both are struggling and are unable to know which they should

do first. The secondary signifier, instructional materials

(laptops, papers), refers to tools both teachers and students

utilize in today’s education. Due to the pandemic, online

class are offered and various application are introduced to

aid the gap of today’s education. However, due to this sudden

change, many are not able to adjust right away and

instructional materials were not yet finalizes. Both teachers

and students are not prepared for this sudden change which

gives them a hard time. Lastly, the tertiary signifier for

this cartoon is the “perspective of expectation and reality in

today’s education.” This signifier denotes today’s education

where the traditional method of teaching has been replaced by

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modern ways through the use of technological tools and various

applications. This sudden change has two phase; the

expectation and reality. As expected by educators and

students, new normal education will benefit them in many ways

as this will enable them to multitask. However, in reality, it

is the opposite. As shown, both teachers and students are

struggling and they are having a hard time in dealing this

sudden change.

In the second level of analysis, it shows that this

cartoon uses several signs which are symbolic and iconic. Both

primary signifiers are classified as symbolic and iconic. They

are symbolic as they represent today’s education. They are

also iconic as they use the image of teachers and students who

are both expected to receive better learning and teaching, but

in reality, they both experience the opposite of what they are

expecting. Secondary signifier is iconic as it is represented

by the use of instructional materials which the teachers and

students are using. Lastly, the tertiary signifier is symbolic

as it symbolizes the expectations and reality of today’s

education.

Teachers and students in today’s society had suffered

from cramming’s and work overload which is far from what they

expected. Both have expected to have more time relaxing but in

reality, they don’t have enough time to do other task as they

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are drowning with bundles of activities. As we can see both

teachers and students are in the ground, raising their hands

and it seems like they are confused which one they will do

first. There are tangled papers and everything’s seems so

messy. This situations depicts our mindset that sometimes we

are hoping that these two will match up, but they often do

not. This disparity of expectations vs. reality can often lead

to feelings of discontentment and unhappiness.

Figure 5 generate the second online cartoon analyzed in this

study.

Figure No. 5

Table 5. Signifiers and Signified of Online Cartoon 5

Level of Importance Classification Signified
Primary: 67.3B Funds Symbolic Corruption
of
Secondary: Political Iconic
Government

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Leaders
(Phil.
President and
DOH secretary) Funds
Dead Medical Symbolic and (Benefits)
Tertiary: for Medical
Frontliners Iconic
Frontliners

In this cartoon, the primary signifier is 67.3B funds

which signifies the money allotted for the frontliners. This

big sum of money is obtained by the government to be used as

support funds for the frontliners’ needs particularly their

salaries and incentives. The secondary signifier is the

“political leaders” (Phil. President and DOH secretary. It is

depicted through the images of the Philippine President

Rodrigo R. Duterte and DOH secretary Francisco Duque III who

are bathing in the bath tub with 67.3B funds written in it.

They are perceived as corrupt politicians who keep the funds

for themselves. They do not give the budget for the benefits

of the frontliners. Lastly, the tertiary signifier is the

“dead medical frontliners” which are represented by the bones

and skulls underneath the bath tub where these politicians are

bathing with the money.

In the second level of analysis, the signs in this

cartoon possess three characteristics. The primary signifier

is symbolic as it uses conventional use of sign for words. It

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also represents the government funds intended to be used by

the frontliners in buying their protective equipment and by

providing them their other needs particularly their allowances

and salaries. The secondary signifier is iconic as it

represents images of the Philippine president and DOH

secretary who hold the funds which are supposed to be given to

the frontliners. Lastly, tertiary signifier is symbolic and

iconic. It is symbolic as it uses human bones and skull that

represent the dead medical frontliners. It is also iconic as

it uses images of dead medical frontliners who have died due

to COViD-19.

In general, this cartoon signifies the corruption of

government funds which are intended for the medical

frontliners. Many medical frontliners have lost their lives

due to their exposure to COViD-19 patients due to lack of

equipment to protect them. Frontliners have worked hard day

and night saving people’s lives. However, the politicians seem

not to care about their struggles as they have embezzled the

funds which are intended for the medical frontliners.

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Figure 6 generate the second online cartoon analyzed in this

study.

Figure No. 6
Table 6. Signifiers and Signified in Online Cartoon 6
Level of Importance Classification Signified
Primary: Peso Sign Symbolic Corruption
of
Crocodile
Secondary: Symbolic Government
(Politicians)
Funds
Filipino
Tertiary: Iconic
people

The primary signifier for this cartoon is the peso sign

which is engraved in the plastic bottle that is being drunk by

the crocodile. This peso signs is a representation of the

money provided by the government which is intended for aid or

to serve something. However, due to the corrupt politicians

these funds never reach the intended beneficiaries. The

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secondary signifier is the crocodile which represents the

politicians. Due to these corrupt politicians, the poverty in

the Philippines can never be solved. The tertiary signifier is

the Filipino people, who are being represented by a small head

with an open big mouth who is catching the crocodile’s pee.

These politicians has been living their dream life because of

what they unlawful deed, neglecting needs and call for help of

the people who are suffering from the aftermath of their

corruption.

In the second level of analysis, it clearly shows that

this cartoon uses several signs which possess certain

characteristics as being symbolic and iconic. Both primary and

secondary signifiers are symbolic as they both represent

something. The peso sign uses the conventional sign for money

while the crocodile is a symbol for a corrupt individual. The

Filipino people, on the other hand, is iconic as it uses the

image of a Filipino individual who in fact suffers from

corruption.

This cartoon represents the happening of our community

right now. It is a representational image of the government

funds corrupted by politicians. Due to corrupt politicians,

the Filipinos have suffered so much. In the past years,

corruption in the Philippines has caused destruction in the

Philippine economy and even to its people. Many have suffered

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from poverty and unequal salary despite working overtime.

Corruption has been a problem ever since, and if this

continues, as year goes by, more and more Filipino people will

suffer.

Chapter 5

SUMMARY OF FINDINGS, CONCLUSIONS AND RECOMMENDATIONS

This chapter presents the summary, findings obtained,

conclusions drawn, and the recommendations formulated by the

researchers.

Findings

The following are the significant findings of the study:

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1. The cartoons published in the two Facebook satirical

pages used different types of signs like primary, secondary,

and tertiary which were classified as symbolic and iconic.

2. The online cartoons found in the two Facebook

satirical pages conveyed recent social issues such as CoViD-19

pandemic, education, corruption in government funds and

poverty.

Conclusions

From the findings obtained, the following conclusions are

hereby drawn:

1. The different type of signifiers in the online

cartoons compliment and work together to convey the intended

meanings or messages to target readers.

2. Messages conveyed in the online cartoons reveal

certain social issues which are happening in the local,

national, and global spheres.

Recommendations

Given the findings and conclusions presented above, the

following recommendations are hereby offered:

1. Online cartoons can be used in classes to provide

students with opportunities to be exposed to these kinds of

drawings which they rarely see from their campus newspaper. In

addition, this can also help students develop their critical

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thinking skills through analyzing the messages conveyed by

these cartoons;

2. Teachers may use cartoons as instructional materials

particularly in their preliminary activities to catch the

attention of their students as these cartoons are pleasing and

eye catching due to their various strokes;

3. A similar study may be conducted using other concepts

in analyzing these cartoons; and

4. Cartoon readers and future researchers may use online

as carpus as they are easy to find.

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he_strokes_A_study_on_Pnoys_portrayal_in_PDI,_PhilStar_an
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_year_as_president
Mushohwe, K. (2012). An analysis of selected editorial
cartoons published during Zimbabwe's 2008 elections
[Master thesis, Nelson Mandela Metropolitan University,
South African]. Retrieved August 24, 2022 from:
http://vital.seals.ac.za:8080/vital/access/manager/Reposi
tory/vital:8493
Mutaz, , M.A. (2020). Semiological discourse analysis of the
editorial cartoons of international newspapers on COVID-
19. (2020). Indian Journal of Forensic Medicine &
Toxicology. https://doi.org/10.37506/ijfmt.v14i4.12564
Mwetulundila, R., & Kangira, J. (2015). An Analysis of
Rhetoric and Humour in Dudley’s Political Cartoons
Published in the Namibian Newspaper in 2012.
International Journal of Research in Humanities and
Social Studies .Volume 2, Issue 6, June 2015, PP 63-75.
ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online).
https://www.ijrhss.org/pdf/v2-i6/9.pdf
Peirce, C. S. (2014). Logic as semiotic: the theory of signs.
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100-?). Wiley-Blackwell. Retrieved on 24 Agust, 2022
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hl=ar&lr=&id=Q6txDwAAQBAJ&oi=fnd&pg=PA100&dq=logic+as+sem
iotic&ots=XTlYZYV4Qb&sig=UyYHmdpXKQOyBncBAg8Zyoi7rYU
Rehman, S. (2018). Politicizing cartoons, cartoonizing
politics: a semiotic analysis of American media political
cartoons on Islam [master’s thesis, University of
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from: http://norr.numl.edu.pk/repository/filedownload/769
Tyumbu, M. M. (2018). A semiotic study of political cartoon
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International Journal of Language, Literature and Gender
Studies, 7(2), 136.
https://doi.org/10.4314/laligens.v7i2.12

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APPENDIX “A”

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ONLINE CARTOONS

Source:https://m.facebook.com/story.php?
story_fbid=623665245661703&id=104275467600686

Cartoon Plate No. 1

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Source:https://www.facebook.com/188505569283/posts/
10159741591894284/

Cartoon Plate No. 2

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Source:https://m.facebook.com/story.php?
story_fbid=583762212985340&id=104275467600686

Cartoon Plate No. 3

53
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Source:https://www.facebook.com/188505569283/posts/
10159838848154284/

Cartoon Plate No. 4

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Source:https://m.facebook.com/story.php?
story_fbid=623665245661703&id=104275467600686 Figure

Cartoon Plate No. 5

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Source:https://www.facebook.com/188505569283/posts/
10159741591894284/

Cartoon Plate No. 6

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APPENDIX “B”
PICTORIALS

Individual Facebook browsing of the two chosen satirical

Facebook pages and choosing of online cartoon plate to

utilize.

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The researchers conduct an online meeting to discuss the

cartoons to consider.

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Researchers during their sharing of ideas, opinions and

understanding towards each of the cartoons that has been
chosen.

CURRICULUM VITAE

Personal Background

Name : Glaiza Joy R. Supat

Address : Purok 5, Poblacion

Mahayag, Zamboanga del Sur
Date of Birth : February 25, 1999
Age : 23
Place of Birth : Purok 5, Poblacion
Mahayag, Zamboanga del Sur
Civil Status : Single
Religion : Roman Catholic
Father’s Name : Edgardo G. Supat
Mother’s Name : Algerica R. Supat

Educational Background

Tertiary : J.H Cerilles State College

Dumingag Campus
Caridad, Dumingag, Zamboanga del Sur
2018 - 2022
Degree : Bachelor of Secondary Education
Major
: English

Secondary : Mahayag School of Arts and Trade

Purok 3, Poblacion
Mahayag, Zamboanga del Sur
2012 - 2018

59
 60

Elementary : Mahayag Central Elementary School

Purok 3, Poblacion
Mahayag, Zamboanga del Sur
2006 - 2012
CURRICULUM VITAE

Personal Background
Name : Mane Ann E. Tanasac

Address : Dawa, Josefina

Zamboanga del Sur

Date of Birth : May 15, 1999

Age : 22

Place of Birth : Dawa, Josefina,

Zamboanga del Sur
Civil Status : Single

Religion : Roman Catholic

Father’s Name : Maximo R. Tanasac

Mother’s Name : Nena E. Tansac

Educational Background

Tertiary : J.H Cerilles State College

Dumingag Campus
Caridad, Dumingag, Zamboanga del Sur
2018 - 2022
Degree : Bachelor of Secondary Education
Major
: English

Secondary : Leonardo National High School

Josefina, Zamboanga del Sur
2012 – 2018

60
 61

Elementary : Leonardo National High School

Josefina, Zamboanga del Sur
2006 – 2012

CURRICULUM VITAE

Personal Background

Name : Mary Claire M. Villanueva

Address : Purok 2, Tuboran,

Mahayag Zamboanga del Sur
Date of Birth : December 24, 1998

Age : 23

Place of Birth : Purok 2, Tuboran,

Mahayag, Zamboanga del Sur
Civil Status : Single

Religion : Christohanon

Father’s Name : Jerry D. Villanueva

Mother’s Name : Mercy M. Villanueva

Educational Background

Tertiary : J.H Cerilles State College

Dumingag Campus
Caridad, Dumingag, Zamboanga del Sur
2018 - 2022
Degree : Bachelor of Secondary Education
Major
: English
Secondary : Mahayag School of Arts and Trade
Purok 3, Poblacion, Mahayag
Zamboanga del Sur
2012 – 2018

61
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Elementary : Tuboran, Mahayag Elementary School

Purok 2, Poblacion, Mahayag
Zamboanga del Sur
2006 - 2012
CURRICULUM VITAE

Personal Background

Name : Eva D. Supapo

Address : Mangilay, Siayan,

Zamboanga del Norte
Date of Birth : January 20, 1998

Age : 24

Place OF Birth : Dulop, Dumingag, Zamboanga del Sur

Civil Status : Single

Religion : Roman Catholic

Father’s Name : Jeremias B. Supapo

Mother’s Name : Roberta D. Supapo

Educational Background

Tertiary : J.H Cerilles State College

Dumingag Campus
Caridad, Dumingag, Zamboanga del Sur
2018 - 2022
Degree : Bachelor of Secondary Education
Major
: English

Secondary : Mangilay National High School

Mangilay, Siayan Zamboanga del Norte
2012-2018

62
 63

Elementary : Bagong Jerusalem Elementary School

Bagong Jerusalem, Dulop,
Dumingag, Zamboanga del Sur
2006 - 2012

63