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The paper explores some of the reasons for the apparent incommensurability of interpretative attitudes in the consumption of Chinese media products in the West. It also addresses the difficulties faced by existing audience theories in explicating cross--cultural media communication, especially as it applies to the cultural and political divide between China and the West, a phrase I use non--reductively as no more than an abbreviation. The focus of

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This article investigates single-panel cartoons portraying official corruption in China’s longest- running state-owned cartoon newspaper Cartoon Weekly ( Fengci yu youmo). A total of 433 cartoons are identified as relating to corrupt officialdom between 2012 and 2019 in the wake of Xi Jinping’s anti-corruption signature policy. In contrast with the individualizing critique of political cartooning in liberal democracies, the corpus of corruption cartoons investigated in this article is argued as a didactic form of visual schematization in a pseudo-self-critical discourse typically buttressed by verbal reading instructions. To support this claim, the article addresses its politics of visual discourse by employing Peircean hypoiconicity, consisting of direct resemblance, diagrammatic schematization and metaphoric displacement. Accordingly, the article identifies three major features of corruption cartoons as anonymization of direct resemblance, visual schematization of policy and metaphoric displacement of conventional symbols.