UT student Stephanie Eisner, a white Latina from Houston is the cartoonist behind a controversial political cartoon concerning Trayvon Martin. This is a description of the cartoon:

A woman sitting in a chair with “MEDIA” on the headrest is reading a book titled, Treyvon Martin and the Case of Yellow Journalism to a young child. Eisner reads the outcome of the Trayvon Martin case with this caption: “And then…the BIG BAD WHITE man killed the sweet, handsome, innocent COLORED boy.” The child’s mouth is wide open in shock at the portrayal of the characters in the media. (see here for cartoon).

Eisner’s use of “colored” and the fonts/capitals deployed by Eisner demonstrate her white racial framing of the Trayvon Martin case. Eisner perpetuates racism in the media and appears to assume Martin was at fault and Zimmerman not a serious suspect.

The white racial frame (WRF) is “an organized set of racialized ideas, stereotypes, emotions and inclinations to discriminate.” This white racist framing is normalized by systematized processes of racial oppression in various realms (economic, justice system, education, political, etc.) which artificially naturalizes white dominance in those sectors. The consequence is a material reality which justifies and synthesis the abstract WRF and ideology systemic racism to produce reality, white supremacy. White supremacy becomes “common sense” to whites due its cyclical occurrence in society which reproduces the dominance of whites not only in these life-determining sectors, but also the portrayal of whites and people of color in the media.

Mass media are a primary facilitator of this concept of synthesizing the WRF and racism perfecting white supremacy. Elite white men mostly own the media markets so they much of who people see themselves and the world. Media constitute a cultural object of human production which shapes our worldviews. W.E.B DuBois believes media shapes and reinforces the dichotomy of “Black” and “white”: “bad” and “good” respectively, which subconscious becomes subscribed in our daily thought “with a thoroughness that few realize.” Eisner’s cartoon also perpetuates this dichotomy with her racist language toward Trayvon Martin.

The text of the cartoon is important content for analysis of Eisner’s WRF for two reasons: differentiation of emphasis and exaggeration of the adjectives used to reference Martin and Zimmerman and the usage of “colored” to describe Martin’s race. Zimmerman’s adjectives were only bolded and in all capital letters in one font, while Martin’s were in different fonts in different sizes of varying degrees. This technique of “font play” between Zimmerman and Trayvon shows her likely racial bias toward Zimmerman instead of creating an “ambiguous cartoon,” her stated intended goal.

The use of “colored” to address Martin’s race is racist when used by whites. “Colored” is presented in all capitals and bold. Eisner, a “white Hispanic,” felt the need to use a racist term in her poorly executed tactic to make her case. Her biracial background does not give her a “I cannot be racist” pass, but only points to how “race” and “racism” are constructed within the WRF.

Eisner could not escape her WRF of the Trayvon Martin case. The synthesizing of the WRF and racism has resulted in a white-framed narrative of the Trayvon Martin case. I have demonstrated her “font play” of the text and use of “colored” both show WRF influence on her worldview. (See #IAMTRAYVONMARTIN)

Eisner, since the initial posting of her political cartoon, has apologized and been relieved of her position as a cartoonist from the Daily Texan. However, a petition at change.org is asking for the reinstatement of Eisner.