THESIS DEFENSE

DECODING THE RAP

AND RIPPLE: A SEMIOTIC

ANALYSIS OF RAPPLER'S

EDITORIAL CARTOONS
Jan. 4, 2022
Toyogon, Dyulliana Anushkah
THESIS DEFENSE

Editorial cartoons, albeit a speck in mainstream media,

contribute to the fortification of the masses’ candidate
choice. They impact the audience – humorously or
offensively (Ibid). Editorial cartoons also
reveal where
media publishers slant more. Often, when they do this,
they are criticized and deemed biased by the masses.
One of the most slammed journalism publishers in the
Philippines is Rappler, considered to be one of President
Rodrigo Duterte’s biggest critics during his
administration (Sese, 2016).
THESIS DEFENSE
This study aimed to semiotically analyze and dissect

the messages conveyed, represented, and interpreted

in the chosen editorial cartoons using visual grammar

theory and its three metafunctions and examine how

the cartoons represent Rappler’s opinions during the

2022 Philippine Elections Period. Each sketch, shading,

pop of color, and art style-related decision were put

under the lens of social semiotics, specifically using

Kress and Leeuwen’s visual grammar theory. We can

decode Rappler with its every ripple and go through

every detail of its slanting wave.

STATEMENT OF THE PROBLEM

This study focused on the semiotic analysis of Rappler’s editorial cartoons

published during the 2022 Election Season. It also aimed to understand how
Rappler shapes its publicized political leaning through its published editorial
cartoons.

Specifically, this study sought to uncover the following:

1. What are the representational, interactive, and compositional meanings of the

editorial cartoons?

2. What are the social meanings of the editorial cartoons?

3. How do the editorial cartoons represent Rappler?

THEORETICAL
FRAMEWORK
CONCEPTUAL
FRAMEWORK

CONCEPTUAL
FRAMEWORK
SCOPES AND DELIMITATION
This study only examined editorial cartoons released from
January 9, 2022, to June 8, 2022 that fit into the study’s
inclusion criteria.

This period of time is based on the Commission on Elections

promulgation of Resolution No. 10695 in which the Calendar
of Activities and Periods of Certain Prohibited Acts in
Connection With the May 09, 2022 Elections was released to
the public.

2
METHODOLOGY

2
RESEARCH DESIGN
This research was qualitative in nature specifically utilized
descriptive qualitative analysis to examine the chosen
data of the study. The qualitative technique, according to
Bhandari (2020), comprises collecting and evaluating non-
numerical data in order to grasp thoughts, opinions, or
experiences.

2
SAMPLES OF THE STUDY
The study analyzed corpus data obtained from the
Internet, specifically editorial cartoons by Rappler
published during the scope of the study.

This study utilized the internet to gather corpus data, a

set of linguistic material stored in a computer database
(i.e. the Internet) and used for academic purposes.

The samples were obtained from Rappler's official

website, Rappler.com.

2
DATA COLLECTION PROCEDURE
The researcher accessed the Internet and visited
Rappler’s official web page to find and gather corpus
data for this study. To make sure the data’s relevance
stays within the bounds of the paper, the researcher only
scrutinized editorial cartoons published during the Election
Period according to Resolution No. 10695 (COMELEC,
2021).

Next, the researcher bookmarked and/or downloaded

the chosen editorial cartoons from Rappler’s site and
began the evaluation of the data.

2
DATA ANALYSIS
To analyze the data, this study applied Gunther Kress SOP 1 (and 2)
and Theo van Leeuwen’s visual grammar theory, which
consists of three dimensions: representational meaning,
interactive meaning, and compositional meaning.

Representational
Is it Narrative? Compositional (How the image is
Is it Conceptual? made; placement)
Information Value
Interactive (The viewer-
Salience
participant relationship
Framing
The Gaze
Distance
Angle

2
DATA ANALYSIS
Hodge and Kress' Social Semiotics (1988)
Media Constructions on Power and Solidarity SOP 2 (and 3)
(Messages of Power and Solidarity)

Synthesis (Rappler's Bias)

Synthesis of three metafunctions, social meanings, SOP 3
alignment with bias

2
 For all purpose

semiotic analysis

CHAPTER 4
FINDINGS AND

DISCUSSIONS
 CHAPTER 4 FINDINGS AND DISCUSSION

1st editorial cartoon

1st Editorial Cartoon (January 24, 2022: “Evicting Justice”)

Representational

1st Editorial Cartoon (January 24, 2022: “Evicting Justice”)

This cartoon utilized narrative

representation because it not an image or

drawing of an object that is shown

“symmetrical, against a neutral

background” (p. 45). The drawing presented

a group of television screens depicting

events and political personalities in the

Philippines. These are divided by vectors

which are the gaps in between the screens

as well as the gaze of the interviewees

towards the viewer (see gaze).

Representational

The drawing, now with most of its symbolisms

Left to right dissected, featured seven television screens and
two tombs in a cemetery. This, perhaps, is a
Top leftmost square: Pres. Rodrigo Duterte symbolism of Rappler’s constant cry for
Top middle square: Lacson, Moreno, Pacquiao,
press freedom (Macarthur et.al, 2022). The
Moreno tombs on the center column may be a
Top rightmost square: Duque metaphor of how press freedom has died
before, during, and after the Election period.
Middle leftmost square: tomb
Monitoring the time frame of the cartoon’s
Middle center square: Marcos Jr, windmill

publication date, this may be a metaphor

background
showing the injustice against poor Filipino families
Middle rightmost square: tomb with RIP plaque
who suffer the deranged system of the
Lower leftmost: Chinese President Xi Jinping country even in the afterlife, while Filipino political
Lower center: Black and white Ferdinand Marcos Sr. figures continue pursuing their political interests
Lower rightmost: Obscure figure with "Shabu" text despite the obvious disequilibrium.
Interactive

Gaze

The central gaze can be found in the middle

This can be justified by observing the gaze of
television screen with Bongbong Marcos. He is
other participants: the four presidential
looking directly at the viewer – which can be
candidates are looking at their off-drawing/off-
compared to how interviewees look at the screen interviewer, as well as Duque; Xi Jinping
camera and/or the interviewer as they

and his companion have no drawn eyes to tell

converse, creating a connection with the

their gaze; the shabu, while inanimate and

viewer. This is similar with Visual Grammar

ultimately has no gaze, has no markers to

Theory, wherein gaze determines if the

represented participants (and ultimately, the

substitute as eyes for gaze. Only Bongbong
creator of the image) aims to establish a
Marcos and Ferdinand Marcos Sr. have their
relationship with the viewer, albeit
sights on the viewer.
inconsistently.
Distance

It is tricky to determine the distance of this

cartoon due to the fact that the represented

participants are drawn to be inside television

With this drawn from the cartoon, it can be
screens. However, it can be concurred that the
assumed that Rappler emphasized how
cartoon utilizes a far-personal distance to
disconnected the masses truly are with what is
portray the figures in the drawing. According to
happening in the country despite it being aired
Kress and Van Leeuwen (2006), far-personal
and seen on television. The signifiers appearing
distance engages the viewers to view the
to be far from the viewers solidified the lack of
participants from head to waist. Despite this,
relationship between the masses and these
they appear to be farther away due to them
political figures.
being in television screens

Viewers are non-intimates.

ANGLE

According to Tan Hai (2015), power and the

vertical angle may be connected. The

spectator is shown as being more powerful

Though this may be true, this remains as a
when they are looking down at a participant
metaphor according to Kress and Van Leeuwen
who is being represented from a high
(2006) who both used a high-angle picture of
perspective. This may mean that the viewer
workers in a factory to present a possibility of a
possesses more power than the represented
supervisor watching over them. Despite this, the
participants and the cartoon itself. However, it
supervisor, and ultimately the viewers, are not
can also be viewed from a literal perspective:
present in the image.
since the setting of the cartoon is in a

cemetery with stacked tombs, it is natural for

the viewer to look down on the tombs that are

represented in the cartoon.

COMPOSITIONAL
INFORMATION VALUE
MEANING

GIVEN: left side

NEW: right side

IDEAL: top
BOTTOM: bottom
COMPOSITIONAL
SALIENCE
MEANING

The cartoon also utilizes the

color grey for the concrete and

tombs, which makes it pop

despite being a background.

Ferreira (2019) defines grey as a

color that carries negative

connotations, ‘particularly when it

comes to depression and loss.’

Since the setting of the cartoon

is in the cemetery where the

color grey is prominent, the

meaning that can be associated

with its use revolves around

death and grief.

COMPOSITIONAL
SALIENCE
MEANING

COLORS:
GREY, RED, BLUE, PINK

SALIENT RESOURCES: TOPMOST

TELEVISION SQUARES
SOCIAL MEANINGS

In simplified description, the cartoon’s theme

revolves around mass media and press freedom –
two of Rappler’s subjects of concern especially
since the shutdown of its broadcasting relative:
ABS-CBN (see: next cartoon).

With this, one can conclude that, according to the lens of Kress and Van

Leeuwen (1996), and Hodge and Kress (1988), Rappler aims to imply that

the cartoon establishes power by averting its gaze, distancing itself from

the viewer, obliquing the angle for ambiguity, and therefore pushes

solidarity by compelling the viewer to stay back and remain off-frame.

The analysis above is affirmed by the messages of power, solidarity, and

ideology by Hodge and Kress (1988).

 CHAPTER 4 FINDINGS AND DISCUSSION

2nd editorial cartoon

2nd Editorial Cartoon (January 31, 2022: “Pagbibigay prangkisa kay Villar at
Quiboloy: benggansa, cronyism, atake sa press freedom")
 CHAPTER 4 FINDINGS AND DISCUSSION

REPRESENTATIONAL

The figures above represent Manny Villar, a former

politician and one of the richest personalities in the

country; Apollo Quiboloy, “Appointed Son of God”,

pastor and founder of Kingdom of Jesus Christ; and

NARRATIVE REPRESENTATION
VECTOR: DUTERTE'S OUTSTRETCHED LIMB,
then-President Rodrigo Roa Duterte. At the time of
EMPHASIZED SHOULDERS
the Duterte Administration, ABS-CBN, one of the

country’s biggest television franchises, was shut

down due to constitutional violations regarding the

chairman’s dual citizenship (Gita-Carlos, 2021).

Overall, there are three participants in the cartoon.

 CHAPTER 4 FINDINGS AND DISCUSSION

INTERACTIVE

GAZE DISTANCE

There is no eye contact to establish an

Despite this, the viewers are, in truth, in a close-

imaginary connection with the viewer. For

personal distance, wherein they can grasp the

Kress and Van Leeuwen (2006) quasi-humans

participants within an arm’s reach.
in the image whose gaze are not fixated to

the viewers disregard the connection that

ANGLE
“demand” images build. This indifference,

The cartoon utilizes an oblique-low angle evident

however, does not necessarily correlate with

by the participants body position. According to

that of the real-life persons represented by

Kress and Van Leeuwen (2006), low angles

the participants.
typically provide a sense of majesty, exaltation,

and victory while high angles tend to devalue the

person, flatten them morally by bringing him down

to earth, and present him as being trapped in an

unbreakable determinism (p.140).

 CHAPTER 4 FINDINGS AND DISCUSSION

COMPOSITIONAL

INFORMATION VALUE SALIENCE

LEFT ELEMENTS: Villar and Quiboloy’s
The most salient element in the cartoon is

placement implies the knowledge of the

Duterte – not only due to the fact that he has

public on their acquisition of frequencies 2

the most distinct facial features among the

and 16. four – he is the only one representing an action

other than laughing/smiling (or scheming).

RIGHT: Duterte’s caricature is placed on the

right side of the poster, indicating that his

Color: Red
metaphorical grabbing of the tower and

FRAMING
ripping and shutting it down is unbeknownst

The cartoon is continuous and united; there is

is news to some people.

no empty space that show and imply

discontinuity within the cartoon.

TOP: TOWER
BOTTOM: Represented participants

___
*see paper for more info
 CHAPTER 4 FINDINGS AND DISCUSSION

SOCIAL MEANINGS

This is similar with the first cartoon, wherein the

represented participants (signifiers) portray the

signifieds (the political figures) as semiotic

resources representing power. This time, however,

it is made clear with the utilization of gaze’s other

aspects (facial expressions) that this power does

not promote solidarity, but hostility. This is amplified

by the non-reciprocity of the represented

participants to the viewer, as well as the viewer’s

exclusion from the narrative of the cartoon.

RAPPLER'S TAKE: SYNTHESIS

The cartoon’s social meaning describes Rappler’s perception of the franchise

acquisition. While these may all be backed up with facts, Rappler paints Duterte as

the orchestrator of the franchise acquisition by creating a representation of him

that appears scheming (gaze), distant (social distance, angle), and disruptive

(information value, salience). In addition, Quiboloy and Villar are represented to be

overjoyed by the acquisition, as seen by their facial expressions (gaze). Furthermore,

the cartoon also implies that Duterte, donning a glove, is not directly the person to

blame in the acquisition, but Rappler paints it to be that by making his caricature

standout (salience), his gloves barely noticeable until someone actually looks at the

cartoon. It can be understood from the cartoon that Rappler paints all the

constituents in the light of negativity based on the representational, interactive

and compositional meaning.

 CHAPTER 4 FINDINGS AND DISCUSSION

3rd editorial cartoon

3rd Editorial Cartoon (February 21, 2022: Ito na ba ang huling EDSA? [Is this the last EDSA?]
REPRESENTATIONAL MEANING

Published on the 21st of February, 2022, the 3rd

editorial cartoon, entitled “Is this the last EDSA?”
alludes to the EDSA Revolution that transpired last
1986. The People Power Revolution lasted three
days from February 22-25, a phenomenon which
preceded the end of the dictatorship of President NARRATIVE REPRESENTATION
VECTOR: OUTSTRETCHED ARMS OF FEMALE STATUE,
Ferdinand E. Marcos and the birth of freedom and BLUE AND WHITE RIBBON
democracy in the nation (Official Gazette of the
Philippines, n.d.). In light of the anniversary of the
EDSA Revolution, this cartoon was published as a
jab to one of the biggest presidentials of the 2022
Philippine Elections, the son of the infamous
dictator, Ferdinand “Bongbong” Marcos, Jr.
INTERACTIVE

GAZE DISTANCE

There are multiple gaze points in the CLOSE PERSONAL DISTANCE

cartoon: first, the silhouettes whose
backs are turned towards the viewer; There are various represented participants in the
second, the Marcoses in their cartoon and they all differ in terms of distance.
abstract-puzzle-piece state looking However, the cartoon in itself presents itself as an
straight at the viewer; and third, the event with the hypothetical viewer behind the masses.
statues looking up. As viewers, we are somehow involved in the
representation of EDSA revolution, but at the same
GAZE TO THE VIEWER time, we cannot reach out to them regardless of how
GAZE WITHIN THE TEXT close they seem. The silhouettes present themselves
with far personal distance, albeit only their head can
be seen from the back. The Marcoses present
themselves with a close social distance due to the fact
that their facial features are, indeed, close, zoomed in,
and emphasized for the viewers to see.
INTERACTIVE

ANGLE

Albeit it seems the cartoon utilizes a central perspective to

present the events the quasi-humans are in, the represented
participants are shown from a relatively low perspective,
granting them power over the viewers. This is emphasized by the
silhouette’s heads sticking out and stretched, looking at the
statue that has its arms outstretched. The way the statue is
drawn – long arms wide open towards the sky, chin tipped up to
the clouds, the rays of sunlight beaming down – gives the
viewers a sense that they are staring from below.
COMPOSITIONAL

INFORMATION VALUE SALIENCE

GIVEN: MARCOS SR. LEFT SIDE OF In terms of salience, the most prominent
SILHOUETTE element in this cartoon has to be the faces
NEW: MARCOS JR, RIGHT SIDE OF of the Marcoses side by side. Another
SILHOUTTE salient element is the statue, especially the
lady statue with outstretched arms due to
By putting it (Marcos Sr). on the farthest its placement in the center. However,
right, Marcos Jr. – his presidential race, although the statue is placed in the center,
presence in media, and authority – may be this does not necessarily mean that it takes
considered as a ”noise” due to it being up the salience in the image.
placed on the right (Kress and Van
Leeuwen, 1990, p. 184). FRAMING
The cartoon is unified. There are no frame

TOP: OUTSTRETCHED ARM (IDEAL) lines that indicate the inside and the outside

DOWN: of the cartoon. No visible lines divide the

cartoon, making all its elements continuous

and one.
SOCIAL MEANING

Rappler, then, paints the represented participants as

Rappler begs the question: which

powerful – and given the context by Ferdinand

power will prevail at the end of the

Marcos Sr’s political past, Bongbong Marcos’

day? However, the title of the

presence on the right side (the new) in the horizontal

cartoon – the worry of being the last

plane indicates that Rappler wants to let its viewers

EDSA in the history – leans more

know that a previous “dictator’s” son will exercise

towards the Marcoses, therefore

dictatorship. Rappler, in a sense, calls both Marcos Sr.

giving them the power.
and Marcos Jr. constitutional dictators. The power

they used, in which Rappler implies by using salient

colors like red (meaning war, bloodshed, danger) to

stain or “rip apart” the frame, one can conclude that

power and solidarity do not co-exist in this cartoon.

Hodge and Kress (1988)

RAPPLER'S TAKE

It can be inferred from the analysis of all three meanings that

Rappler sees another Marcos reign a threat to mass and people

power. One can see this as a repeating pattern in the analysis:

Rappler criticizing those in power, never praising them. From the

conclusions drawn in representational meaning, one can concur

that by publishing this editorial, Rappler represents itself as an

enemy of the “disruptors”, and paints the signifieds as villains of

the reality: Marcos as the given threat, and Marcos Jr. as the

new disruptor.

In its interactive meaning, it can also be inferred that Rappler

sees the Marcoses building their rapport to the people once

again by maintaining gaze, but this rapport and connection is

dangerous, as it is stained red (compositional meaning), signaling

danger, fear, and war.

 CHAPTER 4 FINDINGS AND DISCUSSION

4th editorial cartoon

4th Editorial Cartoon (February 14, 2022: ‘Ang LSS ng Bagong Lipunan’ [The LSS of the New Society])
 CHAPTER 4 FINDINGS AND DISCUSSION

REPRESENTATIONAL

Published as a jab against campaign jingles,

specifically Marcos Jr.’s usage of the Filipino rock

song “Bagong Lipunan” which is famous for being

the song of hope after fall of the Martial Law

The bloodied notes from Marcos Jr’s guitar plucking
NARRATIVE REPRESENTATION
may represent Rappler’s dread with their campaign’s VECTOR: GUITAR, EYELESS GAZE
usage of Bagong Pilipinas. The cartoon wants its
viewers to see that their utilization of the song that
signified freedom from the Marcoses and the Martial
Law is a mockery to what happened to the past, an
insult to those who have died during Marcos Sr’s reign.
Marcos Jr’s guitar playing may also represent him
pulling the strings to reshape and erase the history of
what happened during his father’s lengthened term
by using the song that once meant freedom from
the shackles of the Martial Law and mold its meaning
anew as he plans to step up and sit on the
Presidential Seat.
 CHAPTER 4 FINDINGS AND DISCUSSION

INTERACTIVE

GAZE

While it looks like there are no eyes to draw from to identify the cartoon’s gaze,
the eyeless skeleton is almost ironic as it feels like its empty sockets gaze
directly to the viewers or towards Marcos Jr on its lap. What makes it
compelling is despite the “absence” of eyes, the skeleton’s gaze compels its
viewers to look at the cartoon. However, the skeleton – being a skeleton – is
lifeless, despite what it represents. On the other hand, Marcos Jr.’s back is
turned against the viewers, his gaze completely out of sight. Therefore, this
participant has no developed relationship with the viewer – it can be assumed
that it does not want to establish a connection with the viewer. Since there is
no direct gaze aimed towards the viewers, the cartoon is considered an “offer”
image, wherein the represented participants do not know they are being
watched from outside the frame (Sun, 2017).
 CHAPTER 4 FINDINGS AND DISCUSSION

INTERACTIVE

GAZE DISTANCE

While it looks like there are no eyes to draw from With that in mind, the cartoon utilizes a far
to identify the cartoon’s gaze, the eyeless social distance, wherein the entire person, as
skeleton is almost ironic as it feels like its empty well as the surrounding environment, is visible.
sockets gaze directly to the viewers or towards This means that the participant and the
viewer’s relationship with each other is
Marcos Jr on its lap. What makes it compelling is
impersonal; viewers are considered non-
despite the “absence” of eyes, the skeleton’s
intimates.
gaze compels its viewers to look at the cartoon.
However, the skeleton is lifeless, despite what it ANGLE
represents. Since there is no direct gaze aimed The cartoon utilizes an oblique angle due to
towards the viewers, the cartoon is considered the fact that the image and viewer do not
an “offer” image, wherein the represented share the same eye line so the gaze is
indirect. *
participants do not know they are being
watched from outside the frame (Sun, 2017).
____
*more on paper
 CHAPTER 4 FINDINGS AND DISCUSSION
COMPOSITIONAL

INFORMATION VALUE SALIENCE

Given: skeleton holding half of the guitar The skeleton is the most salient, followed by
the guitar and Marcos Jr. fiddling with the
guitar. Despite the use of other colors and
New: Marcos Jr. playing the guitar, notes
their dominance, the most salient color is red
hanging in the air, the barbed wires in the
as shown with Marcos Jr’s polo shirt and the
background, the skeleton’s broken
bloodied notes drifting in the air. In media and
fingers, the notes bleeding from the advertising, red is associated with “energy,
guitar. These details are qualified as war, danger, strength, power, determination
“new” information. as well as passion, desire, and love” (Baker,
n.d.).
Ideal and real similar to other cartoons
FRAMING

Like the previous cartoons, ‘Ang LSS ng

Bagong Lipunan’ does not have evident

frame lines that separate the elements of

the cartoon.
 CHAPTER 4 FINDINGS AND DISCUSSION
SOCIAL MEANING

By using Hodge and Kress’ Social Semiotics (1988), the analysis drawn
above can be affirmed. Power seems to belong to the most salient
semiotic resource – the skeleton – but according to its interactive
meaning, the mini caricature of Marcos Jr. perched atop the skeleton’s
lap and fiddling with the guitar holds the most power in the cartoon.
That metaphor alone alludes to the idiom “pulling the strings” , which
means “to control someone or something often in a secret way”
(Merriam-Webster Dictionary, n.d.). Furthermore, by looking at the
cartoon’s gaze – Marcos Jr. with his back turned from the viewer and
the skeleton with eyeless socket staring into the abyss, non-reciprocity
is evident. Non-reciprocity in power and solidarity signals “superiority or
contempt if used to a non-equal” (p. 41).
 CHAPTER 4 FINDINGS AND DISCUSSION
RAPPLER'S TAKE

It can be inferred that this cartoon represents Rappler as an

organization that sees Marcos Jr’s utilization of Bagong Lipunan as
mockery against Martial Law victims. First, it can be reflected through
the representational meaning, wherein the date of publication, the
caricatures used, and the details represent time and relevant social
events that match the metaphor of the cartoon. Second, in the
interactive meaning, Rappler establishes a disconnection with Marcos
Jr and the skeleton, the skeleton and Marcos Jr, and Marcos Jr and the
viewer. With Kress and Van Leeuwen’s theory anchored with Hodge
and Kress’ Social Semiotics, non-closeness and non-intimacy indicates
Marcos Jr’s showcase of power. Thirdly, in compositional meaning –
especially in information value – the placement of musical notes implies
Rappler’s perception of Marcos Jr’s campaign jingle as disruptive.
 CHAPTER 4 FINDINGS AND DISCUSSION

5th editorial cartoon

5th Editorial Cartoon (March 21, 2022: P203 bilyon na utang ni Marcos, singilin! [Marcos debt of P203 billion must be charged!)

 CHAPTER 4 FINDINGS AND DISCUSSION

REPRESENTATIONAL

This cartoon entitled ‘P203 bilyon na utang ni

NARRATIVE REPRESENTATION
Marcos, singilin!’ was published during the same time
VECTORS: ALL ACTIONS IN THE CARTOON, GAZE

as the Presidential Debates and Vice Presidential

debates were held and broadcasted in different

networks nationwide. The debates were called

PiliPinas Debates 2022: A Turning Point – a word

play with the Filipino word “pili” which means choose

and Pinas, the shorter version of Pilipinas – and was

organized by the Commission on Elections (DeLeon,

2022).

Notable representations: Presidentiables, namely

Moreno, Robredo, Marcos Jr, Pacquiao, Lacson, BIR.

 CHAPTER 4 FINDINGS AND DISCUSSION
INTERACTIVE
GAZE DISTANCE
In this cartoon, the gaze is exhibited by ten
The cartoon utilizes public distance to depict
(10) represented participants. All of these
the represented participants, meaning multiple
gazes, however, are not directed to the
people’s torsos are visible. Public distance
viewer, meaning there is no established
indicates that the viewers are non-intimates,
therefore they can only interpret the cartoon
relationship with the viewer and the

and not establish a relationship with the

participant other than the viewers are

represented participants. This shows a

bystanders. However, they are staring at

disengaged relationship with the audience,

Marcos Jr’s podium, which establishes a
according to Kress and Van Leeuwen (2006).
relationship between all the presidentiables
The general public feels cut off from one
and Marcos Jr. Staring, according to Royce
another from a distance. From a distance,
(2004), suggests “disdain.” people see them as stereotypical characters
ANGLE who represent both power and authority.
Oblique low angle. The slanted angle creates a

message of exclusion, implying that the persons or the

situation described are there is a lack of involvement

because they are not a member of their common

universe (Kress and van Leeuwen, 1996:142-143).

 CHAPTER 4 FINDINGS AND DISCUSSION
COMPOSITIONAL

INFORMATION VALUE SALIENCE

LEFT: TRADITIONAL POLITICIANS, MALE
Salience emphasized color difference of
REPRESENTATION IN POLITICS Marcos and Robredo's shirt. BIR fingers, as
well.
RIGHT: SINGLE FEMALE REPRESENTATION,

ACCOMPANIED BY TWO PRESIDENTIABLES According to Kress and Van Leeuwen (2006) on

salience, this could mean that the artist and
the cartoon aims to emphasize these colors to
IDEAL: FINGERS OF BIR LIFTING MARCOS JR
convey meaning. Marcos Jr’s tight competition
REAL: PRESIDENTIABLES LOOKING AT

is Leni Robredo, which is perhaps why their

MARCOS JR HIDING/BEING LIFTED colors are made to be saturated in contrast
to the other presidentiables, whose clothes
FRAMING are not as significantly vibrant as theirs.
Textual harmony is achieved. No frame

lines that divided the semiotic resources.

SOCIAL MEANINGS

Power is displayed differently in the given cartoon. Instead of a single or a few

represented participants, ten (10) semiotic resources join in solidarity to merge their

powers to judge the Marcos family’s estate tax debt, and ultimately Marcos Jr. himself.

Closeness is exhibited by the signifiers (both at the left and at the right side), excluding

Marcos Jr’s representation in the middle as he is being lifted up in the air by a giant hand

representing BIR. Under the lens of Social Semiotics (Hodge and Kress, 1988), this

closeness might “signify extreme intimacy” (p. 54) but given the candidates formal and

competitive relationship with each other, the message of intimacy is crossed out, but

instead a similar distaste to their opponent’s dirty laundry, therefore urging solidarity

between one another.

Here, Marcos is shown not exercising power; he is hiding, quite the opposite of being

powerful. By placing the analysis of gaze side-by-side with Hodge and Kress’ (1988)

messages on power and solidarity and media constructions on power and solidarity,

Rappler aims to show its viewers that different clashing powers can merge as one and

signify solidarity against a common denominator.

RAPPLER'S TAKE

It can be inferred that the cartoon represents Rappler as an online publication

that sees Marcos as cowardly due to his absenteeism in the debates, as well as
his evasion of public appearance to avoid inquiries about his family’s debt – but as
viewers, the masses and the semiotician cannot do anything about this. Firstly, in
representational meaning, the cartoon is a reference to the PiliPinas debates,
wherein Marcos Jr’s consecutive absences and his family’s estate tax debt was
brought into question, in which all of the candidates agreed that he must be
collected due his debts.

Secondly, in interactive meaning, Marcos Jr’s gaze is aimed upward, a sure sign of
fear and uncertainty. By using the aforementioned distance, Rappler paints
Marcos Jr and the Presidentiables as unreachable signifieds that have little to no
relationship with the viewer. Thirdly, by placing Marcos Jr’s tightest competition
(Robredo) on the far right, Rappler indicates that her hypothetical win in the
elections would be the disruptor of Marcos Jr’s peace and reality.
 CHAPTER 4 FINDINGS AND DISCUSSION

6th editorial cartoon

6th Editorial Cartoon [March 28, 2022: Hindi family business ang demokrasya natin [Our democracy is not a family business]
 CHAPTER 4 FINDINGS AND DISCUSSION
REPRESENTATIONAL

The cartoon utilizes narrative representation

as it depicts an action and an event. These
actions are portrayed by vectors: the smiles
on the seemingly-faceless politicians, as well
as their bodies sat atop on the roof. The
vector is also conveyed by the eyes behind
the family, some maintaining their gaze with NARRATIVE REPRESENTATION
VECTOR: SMILES OF THE FAMILY, EYES LOOKING
the viewers. When represented participants AT THE VIEWER
look at the viewer, vectors, formed by
participants’ eyelines, connect the
participants with the viewer. Contact is
established, even if it is only on an imaginary
level.
 CHAPTER 4 FINDINGS AND DISCUSSION

INTERACTIVE

GAZE DISTANCE
A relationship is being made between In terms of distance, the political
the viewer and the cartoon due to cartoon utilizes public distance.
the eyes in the black expanse. There is less of a connection when
a topic is farther away from you,
In line with this, the smile gazed at making them seem more foreign.
the viewers indicates that the We are too far apart to discuss
represented participant wants the matter comfortably (Kress
something from the viewer. This is and Van Leeuwen, 2006).
also true with the eyes in the
background.

ANGLE

This cartoon easily utilizes a high angle. the interactive participant (the

viewer) is seen to have a more powerful position in relation to the

represented participant if the represented participant is observed by

the viewer from a high angle, or from "above," as it were.

 CHAPTER 4 FINDINGS AND DISCUSSION

COMPOSITIONAL
INFORMATION VALUE SALIENCE
Left (Given): other half of the family, The most salient part of this cartoon
other half of eyes, other half of would be the family perched on top of
barangay hall, other half of red the barangay hall, followed by the
expanse black expanse of eyes in the
Right (New): the same with left background, the red ground extending
to the left and to the right of the
Top (Ideal): frame, the barangay hall, and the little
Bottom (Real): depictions of voters. This order of
FRAMING salience makes the viewer know
where to look, where the most
In this cartoon, textual harmony is achieved.
important signifier and represented
There are no evident frame lines that
participant should be looked at and
separate the viewer from the participants
analyzed.
except for the edges where the cartoon
ends. Additionally, there are no lines
The color red is also salient in the
separating the text from the visual elements,
cartoon*
which connects the two in the campaign
poster.
 CHAPTER 4 FINDINGS AND DISCUSSION

SOCIAL MEANING

Solidarity is not achieved in the cartoon as a

It can be decoded that Rappler
whole, only in the “area” of the family, wherein
paints political dynasties as
their proximity calls for a sign of intimacy with
authoritarian, the death of political
each other. Relations of solidarity cannot be
plurality by the spatial code in
interpreted in isolation as they are connected
between the
with relations of power (Hodge and Kress, 1988,
foregrounding/backgrounding of the
p. 54). The lack of power shown in the area of
black expanse and the distance
the pairs of eyes also indicate solidarity, as the
between the family and the miniature
absence of power can also be a form of power
voters. Power only exists in the
(albeit, powerless). According to Hodge and
center, similar to authoritarianism,
Kress (1988), “signifiers of the absence of
where power is centralized and
power can signify solidarity” (p. 46). Whilst the
diversity is forced out.
family exhibits power over the viewer and

represented participants, the eyes exhibit

solidarity as they remain invisible in the black

expanse, the lack of fear worrying them.

 CHAPTER 4 FINDINGS AND DISCUSSION

RAPPLER'S TAKE

It can be inferred that the cartoon represents Rappler as a news

publication that disapproves of the continued existence of political

dynasty. two of the people running for the first and second highest

positions in the Philippine government are products of political nepotism

(Marcos Jr and Sara Duterte respectively, as shown in the

representational meaning). Secondly, in interactive meaning, Rappler

shows the disconnectedness of each represented participant in the

cartoon by making showing non-reciprocity in gaze, non-proximity in

distance, and obliqueness in angle.

Thirdly, the cartoon represents what reality Rappler believes according to

information value and salience: that no matter the power and abuse shown

by these families, voters enable their power, therefore enabling their solidarity

in power as well.

 CHAPTER 4 FINDINGS AND DISCUSSION

7th editorial cartoon

7th Editorial Cartoon (April 4, 2022: “Lorraine Badoy, mambababoy ng katotohanan” [Lorraine Badoy, slaughterer of truth]
 CHAPTER 4 FINDINGS AND DISCUSSION

REPRESENTATIONAL

The cartoon utilizes narrative representation as the

image depicts the act of “doing something” – the
signifiers represent action words that are coordinated
and associated with the social context of the cartoon.
According to Guide to Reading Images published by
NARRATIVE REPRESENTATION
Google Sites, while conceptual representations show VECTOR: BADOY'S GAZE, FINGER POINTING,
stable concepts, narrative representations show BULLETS FIRING
participants who are connected to one another through
lines called vectors; as a result, the participants in an
image must be connected with a vector in order for the
image to be classified as a narrative representation
(2006). The action unfolding is Badoy pointing at the
masses, the soldiers shooting at them, and the masses
gathering together and playing the game the cartoon
references to.
 CHAPTER 4 FINDINGS AND DISCUSSION
INTERACTIVE

GAZE DISTANCE ANGLE

While Badoy’s caricature appears to The cartoon utilizes far social The cartoon utilizes a
be looking at the viewer, her gaze is distance, which Kress and Van central perspective as
fixated on the masses grouped Leeuwen (2006) define as the Badoy’s eyeline is placed
together where she points in a general social distance wherein the right at the center of the
direction. According to Kress and Van person or subject depicted can be image. The angle that is
Leeuwen (2006), while not conveying a seen in full as well as the most effective is the
clear message or signal to join the background that foregrounds the frontal angle.
frame, an indirect glance allows the represented participant. In
spectator to engage with the artwork. accordance to Kress and Van
While the message of the image may Leeuwen’s theory, this means
not immediately elicit an emotional that Badoy, the soldiers, and the
response, it nevertheless has the citizens are impersonal with the
potential to be useful or instructional viewer, therefore rendering him a
even if it lacks emotions. non-intimate. According to Kress
and Van Leeuwen (2006), non-
intimates cannot go near with far
social distance only in intimate
distances (close personal
distance)
 CHAPTER 4 FINDINGS AND DISCUSSION

COMPOSITIONAL

INFORMATION VALUE SALIENCE FRAMING

Similar to other cartoons, it implies In the cartoon, the most salient Since the picture is not
that the information on the left (red element is Badoy herself. Put in separated from the other
tagging) in the nation is a universal the center, the viewer’s gaze will parts by any linings or
fact. On the right side (new), it implies take up most of its time frame lines, it is linked for
that it is still happening, and it is still scrutinizing the identity of Badoy, framing. The cartoons parts
disruptive. especially when the viewer is not interact with one another
knowledgeable or up-top with since there are no shadows
For the top to bottom analysis – the current events and political or noticeable changes in
ideal and real – it presents red tagging players. The next would be the luminance.
as ideal. In theory, the eradication of trail of bullets being fired, made
groups that are against the salient by its sharp orange color
government and its wellbeing provides and lines. Orange emulates the
peace. When there is no opposition, color of fire, and is near red,
there is no war. However, this only which is the color of war and
applies to a government that is not bloodshed.
flawed – and no government
administration is perfect.
 CHAPTER 4 FINDINGS AND DISCUSSION

SOCIAL MEANING

Hodge and Kress (1988) describe power as “the

most obvious dimension; power understood as
control by one social agent of the behavior of
others” (p. 39). Her finger-pointing indicated a
command, and since she is established to have the
most power in the cartoon, the caricature of
soldiers follows that command.
Similarly, Badoy acts as the traffic light – the go
signal – for these soldiers to shoot what fits
Badoy’s logic of identifying an enemy. The fired
bullets are the representation of solidarity
relationship. This is because these represented
participants are “constrained by logonomic
systems which operate through messages about
their identity and relationships” (p. 40) – a system
in which Badoy benefits from.
 CHAPTER 4 FINDINGS AND DISCUSSION

RAPPLER'S TAKE

The cartoon represents Rappler as a non-believer of

Badoy’s red tagging. Thirdly, the cartoon’s compositional
meaning shows what Rappler perceives as ideal and real:
while exalting the government’s enemies is ideal, what’s real
is the number of wrongly accused individuals and
organizations who may or may not be killed by a shoot-to-kill
command from Badoy.
 CHAPTER 4 FINDINGS AND DISCUSSION

8th editorial cartoon

8th Editorial Cartoon (April 18, 2022: “Ang presscon na nag backfire” [The presscon that backfired])

 CHAPTER 4 FINDINGS AND DISCUSSION

REPRESENTATIONAL

The cartoon utilizes narrative representation,

showed by the direction of where the trolley is
going (forward), the outstretched arms of both
Moreno and Lacson, as well as the opened mouth
of Moreno, in which makes him appear to be
NARRATIVE REPRESENTATION
exclaiming. Furthermore, Robredo’s placement in VECTOR: THE TRIO'S GAZE, CLOSED FISTS UP
the cartoon also indicates that she is running in a IN THE AIR, DIRECTION OF THE TROLLEY

race. Moreno and Lacson’s sideways glance to

Lacson, Robredo’s turned gaze fixated on the trio,
and the trolley’s moving direction are all vectors in
the cartoon, a telltale sign of a narrative
representation image.
 CHAPTER 4 FINDINGS AND DISCUSSION
INTERACTIVE

GAZE DISTANCE ANGLE

There are no gazes aimed The cartoon utilizes far social The cartoon utilizes a low
towards the viewer; there distance wherein the entire oblique angle. Low angle
is no relationship built with person (or people) is visible as well images are the ideal
the viewer as he is a as the surrounding environment. camera angle for conveying
bystander of the event This is not the case with supremacy or for inspiring
happening in the cartoon. Robredo’s caricature as she is cut dread and anxiety (Lannom,
out of the frame, but the trio has 2020).
their whole body visible, which
makes the viewers far from the
center of the cartoon. This means
the trio disconnect themselves
from the viewers by appearing to
be far, but Robredo’s close as she
is of reach
 CHAPTER 4 FINDINGS AND DISCUSSION
COMPOSITIONAL

INFORMATION VALUE SALIENCE FRAMING

Left to right: Robredo being The most salient element in terms There are no obvious frame
second place is not new, but of the participants would be the lines that visually divide the
the trio teaming up to slow trio. Only maximizing the image cartoon except for the
down a candidate in the would the viewer see and difference in skin tone,
presidential race is. The recognize Robredo’s caricature shading, and color.
placement of these elements on the bottom left side of the
are evident. image. The color used is orange,
which stands for innovation,
From the top to bottom (ideal excitement, prosperity, and
to real), the trio are placed on harmony (Ferreira, 2019).
the upper side of the image, Crassness, roughness, and
which indicates that their frivolity are some of the most
unity and their race to prevalent negative connotations
victory is ideal. However, with the hue (Cousins, 2012).
what is real is despite their
alliance, Robredo leads the
presidential race by 2nd
place, and Bongbong Marcos
has outrun all of the four of
them combined.
 CHAPTER 4 FINDINGS AND DISCUSSION
RAPPLER'S TAKE

It can be inferred that the cartoon represents Rappler as a believer of Robredo’s

immovable place in the Presidential Race despite the Moreno-Gonzales-Lacson trio’s
endeavors. Rappler’s bias is shown according to the theory: Rappler sees Robredo as a
royalty amidst men threatened of women in power. Secondly, in interactive meaning,
the clashing of gaze, the established distance not only between the viewer and the
participant but also in the image, and the angle utilized, the cartoon shows the
absence of intimacy between the candidates, as everything is a competition, and
albeit the voters have the power to decide, the angle, distance, and gaze between the
participants and the viewer leaves the latter to only watch them try outrun each
other. Thirdly, in compositional meaning especially in information value, Rappler’s
artistic choice to place the trio on the right side classifying them as new or disruptive
information represents the online publication as a believer of Robredo’s leadership, as
they placed her on the left the “traditional”, “accepted”, “known”, and “given”
information.
 CHAPTER 4 FINDINGS AND DISCUSSION

9th editorial cartoon

7th Editorial Cartoon (April 4, 2022: “Lorraine Badoy, mambababoy ng katotohanan” [Lorraine Badoy, slaughterer of truth]
 CHAPTER 4 FINDINGS AND DISCUSSION

REPRESENTATIONAL

Narrative representation is used to convey that

there is an action being done in the cartoon. In
contrast to portrayed states of being that are
inherently consistent (conceptual representation),
narrative processes are more interested in
NARRATIVE REPRESENTATION
represented acts and occurring, and their spatial VECTOR: EDGES OF CHAT BUBBLES, EYELINE
arrangements are more ephemeral as opposed to GAZING UPWARDS

being concerned with a stable and constant

spatial order (Kress and Van Leeuwen, 2006). The
vectors involve Marcos Jr’s eyeline gazing at the
scintillating chat bubbles above him, as well as the
sharp bubble edges pointing at his direction as well.
 CHAPTER 4 FINDINGS AND DISCUSSION
INTERACTIVE

GAZE DISTANCE ANGLE

Once again, this cartoon In terms of distance, this cartoon The cartoon utilizes a high
does not utilize gaze to utilizes far personal distance, angle to show Marcos Jr
establish a relationship with which Kress and Van Leeuwen below. This puts the viewer
the viewer. Instead, it (2006) describe as an angle that on a literal and
creates a connection within shows the participant from head metaphorical pedestal,
the next from one to waist/torso. This distance, having more power than
participant to another, or to according to the pair, a close shot the participant in the
one participant to another depicts an intimate and personal cartoon.
signifier. Since there is only connection, a medium shot
one represented participant depicts a social relationship, and a
in the cartoon, the gaze and distant view depicts an objective
the represented participant relationship (ibid).
contribute to the image
classified as an “offer” image.

To note: Marcos' pout, facial

expression, and others
 CHAPTER 4 FINDINGS AND DISCUSSION
COMPOSITIONAL

INFORMATION VALUE SALIENCE FRAMING

GIVEN: LEFT SIDE BUBBLE In terms of salience, the most The chat bubbles, although
CONTENTS, salient element would be Marcos not obvious frame lines,
REPRESENTATION OF PAST Jr’s caricature due to the fact emphasize and make the
"CRIMES" that he is drawn to stand out and viewer separate their
is the only represented interpretations of these
RIGHT: RIGHT SIDE BUBBLE, participant in the cartoon, which bubbles. Although it is clear
REPRESENTING THE is a first in this paper. that there are lines
PANDEMIC In terms of color, red is used separating the text
to color the curtains or walls elements from the subjects'
IDEAL: MARCOS BEING behind Marcos Jr. According to photos, textual harmony still
HAUNTED BY HIS DUES color psychology, red, a popular exists in the image since
marketing hue, can draw certain frame lines are not
REAL: STILL OF POWER attention. as strongly highlighted as
REGARDLESS others (i.e., in posters).
 CHAPTER 4 FINDINGS AND DISCUSSION
SOCIAL MEANINGS

Instead of solidarity, Marcos Jr. shows forced submission. Using

Hodge and Kress (1996), the absence of Marcos Jr’s power (as
shown in interactive meaning) only appears to be solidarity, but
there is no concrete action to draw from and conclude his
presence in the cartoon as a solidarity relationship.

Marcos Jr’s reaction is the response he uses to the bubbles’

intrusion, similar to how Mary seems to flinch as Gabriel invades
her space (p. 57). Marcos Jr exhibits an act of fear. This is how
Rappler represents itself: it represents a powerful figure fearful
of his issues, and in turn, represents Rappler as a believer of that
fear and cowardice.
 CHAPTER 4 FINDINGS AND DISCUSSION
RAPPLER'S TAKE

The cartoon represents Rappler as a publication that thinks of Marcos Jr as a

man haunted by his mistakes, therefore a man that cannot be trusted in
leadership. Firstly, the representational meaning shows that the signifier’s
reaction to other semiotic resources in the image is how the signified would or
should react as well. It is shown by how he is created with a look of uncertainty,
discovering conspiracy against him, a pout on his face, and a blue paleness to
his forehead.

Secondly, the interactive meaning shows his disconnection to the viewer as he

is occupied with his floating adversaries. Thirdly, in compositional meaning,
Rappler represents itself as a publication that doubts Marcos’ ability to handle
the pandemic by putting the medicine and pills on the right side (the new
information).
 CHAPTER 4 FINDINGS AND DISCUSSION

10th editorial cartoon

7th Editorial Cartoon (April 4, 2022: “Lorraine Badoy, mambababoy ng katotohanan” [Lorraine Badoy, slaughterer of truth]
 CHAPTER 4 FINDINGS AND DISCUSSION

REPRESENTATIONAL

The act of walking towards an open door and

into an off-frame room makes is a tell-tale sign
of an image that falls under narrative
representation. The image represents and
depicts an action being made, which is these
representatives walking into the House of NARRATIVE REPRESENTATION
VECTOR: WALKING TOWARDS THE DOOR,
Representatives. The same quality that qualifies DIRECTION OF "RED CARPET"
the image as narrative representation is also its
vector. Vectors are made by portrayed pieces
that create an oblique line, sometimes a rather
strong, diagonal line, according to Kress and Van
Leeuwen (2006, p. 56). The vector is evident by
the direction the path (red carpet) goes to – an
oblique diagonal line – as well as the gaze of the
purpled-out masses in the background fixated on
the representatives on the foreground
 CHAPTER 4 FINDINGS AND DISCUSSION

INTERACTIVE

GAZE DISTANCE ANGLE

Regarding gaze, this In terms of distance, the The cartoon utilizes an

includes "offer" pictures, cartoon utilizes public oblique high angle, wherein
in which participants distance to separate the the viewer can observe the
are depicted detached represented participants cartoon from a raised angle.
and disengaging, as if from the viewer. According According to Royce (2004),
they are simply to Kress and Van Leeuwen, the subjective
providing information, public distance emphasizes characteristics of images
and "demand" images, in disconnection; at least four are thoroughly examined by
which participants or five people's torsos must Kress and van Leeuwen, who
utilize symbolic be visible to qualify (2006). divide them into two
expressions and/or simultaneous options they
gestures to demand call degrees of engagement
something from the and power.
viewer (Jewitt and
Oyama, 2014).
 CHAPTER 4 FINDINGS AND DISCUSSION

COMPOSITIONAL

INFORMATION VALUE SALIENCE FRAMING

Left going to right: Most salient are the same- In terms of framing, the
transition of given to faced men. Least salient fashion fence barrier
new information - that are the purple people behind separates the represented
political clans exist in them. participants from the
partylists and will masses. This creates
continue (new) to be The logo is also salient, as emphasizes the foreground,
disruptive in the status well as the textual sign almost completely
quo. below it that says "Partylist" overshadowing the
background, serving its
Top to bottom: Ideal purpose. Despite this, textual
representation from harmony is achieved due to
the masses; what's real the fact that the frame lines
is that they are not do not take away the
being represented. viewers from the wholeness
of the cartoon.
 CHAPTER 4 FINDINGS AND DISCUSSION

SOCIAL MEANING

THEY ARE COMPELLED TO STAY OUT OF THEIR WAY DUE

TO THE DIFFERENCE IN POWER. HODGE AND KRESS (1988) NOT ONLY DOES RAPPLER IMPLY THAT
COMPARE POWERLESSNESS TO A SERVANTS’ ETIQUETTE: THE PEOPLE IN NEED OF
“THEIR BODIES SHOULD STAND AT ATTENTION, NOT REPRESENTATION ARE POWERLESS, IT
COMMUNICATING NOTHING, BECAUSE THAT WOULD BE IMPLIES THAT THESE SAME-FACED
MEN HAVE TAKEN AND EXCLUDED THE
IMPOSSIBLE, BUT COMMUNICATING AS LITTLE AS MASSES FROM A RELATIONSHIP WITH
POSSIBLE, AND THOSE ONLY THE PRECONSTRUCTED POWER TO CENTRALIZE IT WITHIN
MEANINGS THAT THEY ARE SERVANTS ARE REQUIRED TO THEIR POLITICAL CLANS AND CIRCLES.
PRODUCE: SIGNS INDICATING THEIR LACK OF ANY
POSSIBLE STATUS AS PARTICIPANTS” (P. 45).
 CHAPTER 4 FINDINGS AND DISCUSSION

SOCIAL MEANING

REPRESENTS RAPPLER AS A PUBLICATION THAT SEES THROUGH

THE VENEER OF REPRESENTATION, WHERE CRONYISM HIDES IN

THE HOR.
CHAPTER 5
FINDINGS AND DISCUSSIONS
SUMMARY OF FINDINGS
1. In representational meaning, all of the cartoons utilized narrative
representation depicting events that happened during the election period
2022. Recurring themes were press freedom, Marcos Jr and his journey as
the leading candidate of the presidential race, Marcos Jr’s “flaws” as a
candidate and a leader, red tagging, nepotism and cronyism. All of the
cartoons criticized the government, both the past, present, and future
administration.

2. In interactive meaning, the cartoons utilized averted gaze to show

Rappler’s perception of the signified and the signifier and their relationship
with the viewer as disconnected. In the few cartoons that utilized gaze to
establish a connection with the viewer, Rappler often made the
relationship revolve around a power play, disadvantaging the viewer in
terms of equality in power. Mostly medium to long-shot distance was
utilized to establish disconnection between the viewer and the
represented participants. Rappler utilized a variety of angles (high, oblique
low, oblique high) to show the viewer’s changing power (or powerlessness)
in differing situations, both in-frame and off-frame (reality).
3. In compositional meaning, Rappler utilized both vertical and
horizontal planes to show what they thought was ideal and real
(top to bottom) and given and new (left to right). Rappler utilized
salience to give highlight the political figures they referenced to in
every cartoon. In terms of framing, although seemingly
disconnected, the cartoons were made to be interpreted as an
image with textual harmony, therefore as one.
4. In Social Meanings or Power, Solidarity, and Ideology, the
researcher found out that most political figures featured in
the cartoons are shown in a negative light. By identifying the
signifiers and linking them with their real-world equivalent, the
researcher found the following:
a. The current government at the time of
publication (January 2022 – June 2022) is
represented to be scheming, conspiring, and
secretive.
b. The Marcoses, specifically Ferdinand
“Bongbong” Marcos, Jr. are shown not to be
elected back in the office; a threat to the
nation’s peace; and corrupt and incapable
leaders
c. Politicians are shown to be disconnected to
the masses, having no care of the society’s
perception against or for them so long as they
are in power
5. In Power, most cartoons use power as a tool for
hostility to force solidarity between participants
(powerful and powerless), and between participants
and the viewer

6. Furthermore, in Power, Solidarity, and Ideology,

Rappler is revealed to show that power and solidarity
are antithetical due to the misuse/abuse of power by
the signifiers (and ultimately, the signifieds)
CONCLUSION
The representational, interactive, and compositional meanings
of the cartoons are important to distinguish and identify to
know where the meaning maker sides with. Every aspect of
the editorial cartoon is important in identifying what traits,
beliefs, and biases the publication attribute to political events,
figures, and phenomena. Moreover, the editorial cartoons that
have gone under the lens of the theories reveal that Rappler
has its biases against the past and the current government
according to the three metafunctions.
RECOMMENDATIONS

1. Future researchers must cross-examine with more theories

to provide a sounder analysis.
2. Future researchers must analyze a more significant number
of samples to generate a more complex yet more reliable
study.
3. Future researchers must limit the scope of editorial
cartoons in terms of political figure to examine if a certain
publication has a bias with a certain politician.
4. Rappler should strive to create editorial cartoons against
the political figures, events, and phenomena they favor to
create a publication that will not be deemed biased against
certain figures.